People using a coworking space.; Credit: Cross Campus

In a sign of increased desire of professionals to work remotely, the successful Santa Monica shared workspace Cross Campus is opening a second location in Pasadena later this month, and the company hopes to open eight others in Southern California and beyond in the next two years. 

Dubbed by one user as  the “nerve center” of the Silicon Beach tech scene, Cross Campus opened its membership-based workspace facility in Santa Monica in 2012.   

But co-founder Ronen Olshansky said the shared workspace phenomenon isn't limited to coders. 

"Fewer and fewer people are making the traditional drive into the corporate office," Olshansky said. "They're working remotely as professionals, going off on their own as freelancers, or they're starting their own companies as entrepreneurs."  

A forecast from Forrester Research says that 43 percent of workers will telecommute by 2016, compared to estimates of about a quarter of the workforce telecommuting last year. 

Olshansky said that, for many people, working from home or in a coffee shop isn't productive. 

That's led shared workspaces to pop up in Los Angeles, Culver City and Santa Monica. Among them: Maker City L.A., WeWork, NextSpace, Coloft and Hub LA.  

Los Angeles-based tech investor David Waxman said these kind of shared spaces are crucial for the early stages of tech ventures.

"When you’re just starting out, and capital is very scarce, having not to commit to an entire office but having part of an office is very important," Waxman said.  “There comes a collective energy when a bunch of entrepreneurs get together in the same space, even if they’re not working on the same project."

And he said Pasadena is a good choice for a shared workspace.

"It is the home of Caltech, the Arts Center, and IdeaLab — probably the world’s first tech incubator — started there," he said.

But he said the need isn't limited to Pasadena.

"In Silver Lake, in South Pasadena, in Glendale, you see a lot of little pockets of  people getting together, and as soon as there’s a critical mass, we’ll see co-working spaces like Cross Campus come into being," said Waxman, who named his investment firm TenOneTen after the two freeways that connect Santa Monica and the Westside to Pasadena. 

Alex Maleki of IdeaLab in Pasadena is happy a well-known company is opening up in his city. 

"Anything that helps attract talent and capital to the region," Maleki said, "is absolutely fantastic."

This content is from Southern California Public Radio. View the original story at SCPR.org.

The backdrop of the stage with the Oscar Award is seen onstage during the 84th Academy Awards announcement held at the Academy of Motion Picture Arts and Sciences Samuel Goldwyn Theater on Jan. 24, 2012 in Los Angeles.; Credit: Kevin Winter/Getty Images

The Academy Awards have made history with breakthroughs for minorities in the past — but with this year's nominations, observers are noting how white the Oscars are, with no actors of color nominated in any of this year's acting categories.

It marks the least diverse nominations since 1998. People have been speaking out about this disconnect, with films like "Selma" being shut out of the acting nominations (though it did pick up a Best Picture nomination).

This content is from Southern California Public Radio. View the original story at SCPR.org.

A screenshot from Maroon 5's "Sugar" music video.; Credit: Maroon 5

Maroon 5 has a new music video built around a simple, viral-bait premise: Adam Levine and the rest of the band trying to crash as many weddings around Los Angeles as they can in one day (Dec. 6 of last year). It's a lot of fun, directed by "Wedding Crashers" movie director David Dobkin, but it appears that some of those "crashed weddings" may have been staged.

Watch the video (warning: contains adult language):

Maroon 5: Sugar

Fans have noticed that several of the couples seen in the video appear to be actors. Actors Stephen and Barbara Woo posted on Facebook that they played the parents of one of the brides in the video and said that not only were the weddings staged, they didn't even take place on one day, claiming that all the weddings were shot in the same location over the course of three days.

Facebook post by actors

The groom from the wedding featured the most in the video has been named by observers as Nico Evers-Swindell, according to Cosmopolitan. Evers-Swindell was already married to actress Megan Ferguson since 2011 — and she's not the "bride" in the video.

Fans have fingered one of the models as "America's Next Top Model" runner-up Raina Hein, according to Cosmopolitan. Also, the man believed to be her long-term boyfriend isn't the groom in the Maroon 5 weddings.

Don't lose heart, though — at least one of the weddings in the video appears to be real, with wedding photographer Duke Khodaverdian telling E! that yes, it was the real deal.

"It was an incredible surprise and everyone at the wedding is going to cherish those memories," Khodaverdian told E! in December.

Instagram 1

Instagram 2

A representative for the band told "Entertainment Tonight" that only the grooms knew about the band in each case — but it looks like that means in the case of the real crashed weddings. The representative did concede that some shots "had to be shot separately from the real weddings due to time and space constraints that were given," and the article does note that the video was shot over three days.

Levine expressed his excitement about crashing the weddings in an interview with People magazine.

"I had no idea I would be affected by the overwhelming reactions we received from the couples and guests," Levine said. He told "Entertainment Tonight" that it was stressful to arrange, but that the surprise felt good. "[We were] happy that they liked our band, too – [that] would have been a total disaster."

They also solicited Twitter to find people lip-syncing "Sugar" to possibly put in their music video, but it doesn't look like those submissions got used.

Maroon 5 Sugar tweet

If you want to see Levine involved in a different dubious outfit, you can see him back hosting "The Voice" on Feb. 23. Open call auditions for the show begin Jan. 24 in New York, with Los Angeles auditions on Jan. 31 and Feb. 1.

Did you spot any more actors you recognize in this video? Do you have any more evidence of any of these weddings being either real or faked? Let me know on Twitter at @MikeRoe.

This content is from Southern California Public Radio. View the original story at SCPR.org.

The covers to the last issues of the current runs of "Avengers" and "New Avengers," leading into "Secret Wars."; Credit: Marvel

Marvel Comics held a press conference this week announcing details about "Secret Wars," a company-wide comic book crossover that they promise will change everything.

Promises of change in comics often don't amount to much, but here's why this one just might, with Marvel teasing that it will produce a whole new world for its characters.

"We see this as putting an endcap to decades of stories and starting a new era," said Marvel Editor-in-Chief Axel Alonso. "And when you see the scope of the event, you see what we're doing, what we're willing to do, this is a place where we're going to be bringing new pieces onto the board and taking old pieces off. You guys will be yelling and screaming, you'll be loving, hating, and in equal measure."

Reboot history

Rival DC Comics has always been quick to have stories designed to streamline their history, with the "Crisis on Infinite Earths" being the most famous one — a story that destroyed the DC Comics universe of the time, birthing a new timeline that gave us the versions of DC's heroes we know today. Several minor and major reboots followed, with the biggest since then being 2011's New 52 (and a tease of another one with this April's "Convergence").

Meanwhile, Marvel still refers back to stories from their early days, beginning with the first issue of "Marvel Comics" in 1939, and more so since the launch of "Fantastic Four" and the interlinked Marvel Universe in the 1960s, led by Stan Lee and Jack Kirby.

Marvel previously launched a line of comics meant to offer a fresh vision of the Marvel characters called Ultimate Comics, but now the worlds of those characters and the traditional Marvel universe are getting combined thanks to "Secret Wars."

"The Ultimate Universe, the Marvel Universe, they're going to smash together," said Alonso. "This is the Marvel Universe moving forward."

"We've never done anything like this, ever," said Marvel senior vice president and executive editor Tom Brevoort. "And what we're going to do to top it, I don't know. Hopefully that will be somebody else's problem."

The stories leading to "Secret Wars," and what is Battleworld?

The story that's been built up so far has to do with different universes colliding into each other — and in the first issue of "Secret Wars," the Marvel and Ultimate Earths collide, with the heroes of those worlds unable to stop it. What's left behind is what Marvel is calling "Battleworld," a patchwork planet with different parts of it inhabited by the characters from different famous Marvel crossovers of the past (you can see some of those past titles in the slideshow above).

Marvel released this video to help you visualize what exactly Battleworld is:

Battleworld video

See a map of Battleworld here, showing the different worlds made up of old storylines to be explored in "Secret Wars" (and click to enlarge):

Brevoort described Battleworld as "The little melting pot in which the new Marvel Universe will be created" after the Marvel and Ultimate versions of Earth are destroyed. He said that Battleworld is what Marvel is going to be "during, through and after" the beginning of "Secret Wars."

"Once you hit 'Secret Wars' 1, there is no Marvel Universe. There is no Ultimate Universe. All there is is Battleworld, and a whole lot of empty void," Brevoort said.

"Every single piece of this world is a building block for the Marvel Universe moving forward," Alonso said. "None of these stories are Elseworlds, or What Ifs, or alternative reality stories. They aren't set in the past or the future. They're not set in an alternate reality. They're set in the reality of the Marvel Universe."

It's also a story that uses an old name — the original "Secret Wars" involved an alien taking heroes from Earth and forcing them into battle for the fate of the universe. It remains unclear if the villain from that crossover will play a role here.

Why is Marvel rebooting?

Observers were quick to speculate on some of the behind-the-scenes reasons for the change. Combining the Ultimate Universe with the traditional Marvel Universe would let them incorporate the half-black, half-Latino Spider-Man from the Ultimate line that grabbed headlines a few years ago. It would let them do something different with characters like the X-Men and the Fantastic Four, who have been a flashpoint for controversy due to Fox retaining rights in perpetuity to any films based on those characters.

It also opens the door to a longtime comic book trope: Bringing back to life the dead.

"If we were to want to resurrect Gwen Stacy, this would be the place to do it, wouldn't it?" Alonso said.

What do creators and fans think about "Secret Wars"?

Speaking of the death of Gwen Stacy, the writer who pulled the trigger on killing her, Gerry Conway, tells Newsarama that he's on board.

"I think like with any idea, the execution will matter more than the idea itself. The idea of a reset is, by itself, not a bad idea," Conway said.

One who's less on board with it: longtime Spider-Man artist John Romita.

"My guess is new fans will be okay with it, and old fans will grumble," Romita told Newsarama. "I’m not a businessman, but I do know that comic companies, for almost 100 years now, do whatever they can for shock value. They grab attention. Personally, I hate all the goofy things they do. When I was there, I used to fight stuff like this. But you can’t stop them."

Current Marvel writers have been sworn to secrecy about what happens once "Secret Wars" is done:

Dan Slott tweet

The lack of certainty about what this all means has led fans to wildly speculate, as well as poke fun at what might happen:

Fan tweet 1

Fan tweet 2

It's a story that's been years in the making.

"Every single time we've done an event, we've always had to be mindful of 'Secret Wars,' and we've had to make decisions based on the fact that we knew that 'Secret Wars' was headed our way," Alonso said.

Brevoort said that Hickman proposed a version of "Secret Wars" years ago, but that vision has since become significantly larger.

"It sounds like typical Stan lee hyperbole — and there's nothing wrong with typical Stan Lee hyperbole — but it is difficult to imagine something that would be larger in scope, in scale, than what we are doing with 'Secret Wars,'" Brevoort said.

That father of the modern Marvel comics world, Stan Lee, tells Newsarama that the reboot is "probably good."

"Anything they do that’s unexpected and different usually captures the attention of the fans," Lee said. "It sounds intriguing to me."

Lee also tells Newsarama that if he were to do it all again, he'd do it basically the same, describing what he did as "the right way to go, and maybe sometimes, even the perfect way to go."

"I liked making the Fantastic Four superheroes without a secret identity. I liked the tragedy of Spider-Man’s origin, the ‘with great power, there must also come great responsibility.’ I thought it was the right way of doing things at the time. And I still like what I’ve done," Lee said. "I can’t think, off the top of my head, of anything I’d really want to change."

What does "Secret Wars" mean for fans?

More details are promised in the weeks to come, with a free preview issue being released on Free Comic Book Day, May 2. While fans wait, they may want to heed the wait-and-see approach advocated by Conway and famed "Thor" artist Walt Simonson.

"Maybe this is coming back out of my old geology days, but I try not to have instant reactions to things and say, ‘Oh my God! That’s terrible!’" Simonson told Newsarama. "My basic reaction is usually ‘let’s see the evidence in the field.’ Let’s come back in a year and see what we’ve got. That will tell the story.”

And for those who say that Marvel is ruining their childhood by messing with the history of their favorite characters, Conway tells Newsarama:

"I would say to them, no, your childhood is still your childhood. There’s a point to be made, and it’s a universal one: We have to see that there’s a difference between what people do today, and what they did yesterday. Yesterday still exists, those stories still exist. Now someone else is getting a chance at a new childhood. And that’s nice."

Watch the full "Secret Wars" live press conference below:

Secret Wars press conference video

This content is from Southern California Public Radio. View the original story at SCPR.org.

A large The Actor statue is placed on stage during 21st Annual SAG Awards Behind The Scenes At The Shrine Auditorium Jan. 23, 2015 in Los Angeles.; Credit: Kevork Djansezian/Getty Images

Click here for KPCC's Awards Tracker

This Sunday's Screen Actors Guild Awards aren't as high profile as the Academy Awards, or even the Golden Globes, but they serve as one of the best predictors of who's going to take home a gold statue come Oscar night. Here's why.

Who votes for the SAG Awards?

SAG Award nominees are chosen by a committee of about 2,100 of the guild's members, according to awards news site Gold Derby. Then, all of the 111,228 members of the Guild have the chance to vote for their picks.

Meanwhile, the acting nominees for the Academy Awards are chosen by the 1,100 members in the Academy's actors branch, before being voted on by the Academy's full 5,700 members. Those actors are all part of SAG, so you're likely to see a strong correlation most years between the awards, particularly in the acting category.

How often do the SAG Awards predict the Oscar winners?

The SAG Awards have proven to be the best Oscar predictor in the acting category of any other major awards season prize since they began in 1995, both in nominations and winners. Of the 20 nominations and four winners from each shows, the overlap between the SAG Awards (aka "the Actors") and the Academy Awards in the last few years:

• 2009: 18 nominations; 3 winners
• 2010: 19 nominations; all 4 winners
• 2011: 17 nominations; all 4 winners
• 2012: 16 nominations; 3 winners
• 2013: 15 nominations; 3 winners
• 2014: 14 nominations; all 4 winners

This year, 17 nominees crossed over between the awards shows, with the Oscars matching up on all five nominations for best supporting actor and four of the five nominations in the other three acting categories.

Where have the SAG Awards differed from the Oscars?

SAG voters have lined up with the Academy on Best Actor 16 out of 20 times. The last time they differed from the Oscars was 2003, when Johnny Depp won at the SAG Awards for "Pirates of the Caribbean: Curse of the Black Pearl" before Sean Penn took the statue home at the Oscars for "Mystic River."

For Best Actress, SAG last split from Oscar in 2011, going with Viola Davis for "The Help" over eventual Oscar winner Meryl Streep for "The Iron Lady." They've matched up 14 out of 20 years.

In the supporting categories, the SAG Awards haven't fared as well. They went 12 for 20 in Best Supporting Actor, and 13 for 20 in Best Supporting Actress. That one also has an asterisk — one of those was a tie, so if you don't count that one, they're also only 12 for 20.

What does this all mean for the Oscars?

The SAG Awards remain the ones to watch when it comes to the acting awards — though their Best Ensemble category, the SAG Awards version of Best Picture, doesn't have a particularly strong correlation to the Oscars Best Picture winner. (For that, you'll want to watch for the Producers Guild Awards.)

We're tracking awards season and what experts are predicting; see KPCC's Awards Tracker below or click here to see the full page. You can watch the Screen Actors Guild Awards this Sunday at 5 p.m. Pacific, 8 p.m. Eastern on both TBS and TNT.

Disclosure: Mike Roe, along with other members of KPCC's staff, are members of the Screen Actors Guild as part of their employment with KPCC.

This content is from Southern California Public Radio. View the original story at SCPR.org.

An image from a teaser for Marvel Comics' 2015 "Civil War," part of crossover "Secret Wars." Could Spidey appear in the new Captain America: Civil War film now that Marvel and Sony have worked out a deal?; Credit: Marvel

Spider-Man is coming home to join the rest of the Marvel movie family (um, except for the Fantastic Four and the X-Men) in upcoming films under a new deal struck between Sony, the home for Spider-Man movies, and Disney's Marvel Studios, home of Iron Man and the Avengers

It's been a bumpy road for Spidey for almost a decade, but now he's set to be part of the largely critically and financially successful Marvel Cinematic Universe films. He's already made history, and he could make more history soon. 

Here's a brief history of cinematic Spider-Man, looking ahead to his new adventures with Marvel's large and growing stable of movie superheroes.

Coming out of the superhero dark ages

Spider-Man was one of the catalysts for the current superhero movie boom. Superhero films were seen as potentially dead following the bomb of "Batman & Robin" with George Clooney, a critical failure and a mixed bag commercially.

Marvel dipped its toes in superhero movies with 1998's "Blade," which was a big hit, followed by 2000's "X-Men," but they both tried to distance themselves from their comic book source material (and the Joel Schumacher Batman movies) by putting their heroes in black leather and grounding them as much as possible in real-life aesthetics.

Sony's first "Spider-Man" movie came out in 2002 and showed that there was still room for an optimistic comic book take. The Sam Raimi-directed film also had a huge cultural impact as one of the first big summer movies following 9/11 — an early teaser that showed Spidey trapping bad guys between the two towers had to be pulled following the disaster.

Spider-Man 9/11 trailer

The movie ended up pulling in almost $822 million at the box office, including almost $404 million domestically, helmed by genre director Raimi, who had previously been best known for the horror-comedy "Evil Dead" films.

Spider-Man trailer

Tobey Maguire surprised as the star, pulling off the nerdy, earnest Peter Parker while also being believable enough as an action star in the Spider-Man suit. Maguire starred alongside Kirsten Dunst as love interest Mary Jane and Willem Dafoe as the villainous Green Goblin, and the film included the not-yet-a-superstar James Franco as Harry Osborn and now-Oscar-nominated J.K. Simmons as Daily Bugle publisher J. Jonah Jameson.

A sequel, 2004's "Spider-Man 2," continued the success of the first, with only a slight dip in overall box office while proving that the first film's success wasn't just a flash in the pan, that there was room for a relatively bright superhero in a dark time.

Spider-Man 2 trailer

Maguire almost ducked out of filming during negotiations, complaining of back pains following injuries while filming "Seabiscuit," and Jake Gyllenhaal almost stepped into the role — but Maguire recovered and held onto his spot. The escapist entertainment of superhero movies was starting to take hold in a growing way, but the superhero train was about to come off the rails for a few years.

The twilight of Tobey Maguire

As "Spider-Man 2" was hitting theaters, 2004 also brought "The Punisher," "Blade: Trinity" and "Catwoman," none of which showed superheroes as particularly promising movie saviors.

Marvel turned out more superhero movies that weren't loved by critics, including "Elektra," "Fantastic Four" and "X-Men: The Last Stand," though the latter two still did well at the box office (all were released by 20th Century Fox). DC Comics made the critical and commercial hit "Batman Begins" in 2005, but stumbled in 2006 with the underperforming "Superman Returns."

In 2007, "Spider-Man 3" dropped, and while it did great at the box office — it was the series' most popular film worldwide, though it dipped domestically — it was slammed by fans and critics. They took that Spider-Man optimism and tried making him emo, while overstuffing the bad guys — going from one villain in the previous films and upping it to three — and turning the campy dialogue up to 11.

Spider-Man 3 trailer

Trying to be 'Amazing' in a new superhero era

While Spidey stumbled, the next year Marvel released its first film from its own studio, the groundbreaking "Iron Man." It showed that you could make a franchise from a hero who was big in the comics but didn't have the same mainstream recognition.

It revitalized Robert Downey Jr.'s career and put Marvel Studios on the map, with a post-credits sequence laying the seeds for completely tying the films together in a way that hadn't been done on this scale ever before.

While Marvel started to crank up their self-produced film, Spider-Man lay dormant. Eventually, it was decided to reboot the character with Andrew Garfield taking over the role in 2012's "The Amazing Spider-Man." It scored the lowest domestic take of the series, while still excelling overseas.

Amazing Spider-Man 2 trailer 1

Sony quickly followed up with a sequel, while announcing their own plans to ape Marvel and try to create their own cinematic universe.

Amazing Spider-Man 2 villains trailer

The second "Amazing Spider-Man" movie set up other potential villains, and holding off the payoff of what exactly happened to Peter Parker's parents as Marvel tried to stretch Spider-Man into a female-led film, one focused on the villains, a movie led by Spidey character Venom and more.

Amazing Spider-Man first 10 minutes

The sequel showed diminishing returns, though, and plans for further sequels and spinoffs began to seem up in the air.

Hacked

In the midst of the Sony hack, documents revealed that Sony and Marvel had been negotiating over Marvel using Spider-Man in its own films — despite Sony having the rights to the character in perpetuity as long as they kept producing films, a deal worked out before Marvel had the resources and the belief in their own filmmaking capabilities. Still, the documents also showed that the talks had fallen apart, and hopes for Spider-Man appearing with Iron Man, Captain America, Thor and the rest of his Marvel friends appeared dim.

Then, Monday, Marvel shocked everyone by announcing that Spider-Man was coming home and would be part of the Marvel Cinematic Universe after all. There had been reports that they'd wanted Spider-Man for the third Captain America film, and with that film set for 2016, that may still happen. They also pushed back four of their "Phase Three" movies to make room in 2017 for a new "Spider-Man" movie, with reports indicating that the movie will feature a new actor taking over and Andrew Garfield getting pushed aside.

Spider-Man comes home

Andrew Garfield will likely go down in comics movie history as the right guy at the wrong time. He was a likable lead with a strong supporting cast, but Marvel looks ready to turn the page. Those on the Marvel side have previously indicated they'd avoid doing another origin story, so we'll probably skip seeing Uncle Ben killed to inspire Peter Parker once again.

"The new relationship follows a decade of speculation among fans about whether Spider-Man – who has always been an integral and important part of the larger Marvel Universe in the comic books – could become part of the Marvel Universe on the big screen," Marvel said in the announcement of the new deal.

Fans online have been largely ecstatic over the announcement of Marvel getting control of the character. Reports indicate that Sony still gets final say over Spider-Man, but that they're letting Marvel take the creative lead. Marvel also announced the possibility that other Marvel characters could appear in future Spider-Man films.

While Sony's Amy Pascal stepped down as the motion picture head of Sony following the hacking scandal and its associated public embarrassments, she's staying on as a producer — including co-producing the next Spider-Man film with Marvel creative film leader Kevin Feige.

Some fans have also asked for an even bigger step away from the traditional Spider-Man by introducing Miles Morales, the popular half-black/half-hispanic Spider-Man from an alternate universe in the comics, but the official Marvel press release does mention Peter Parker, and Marvel executives have previously taken a strong stance against moving away from Parker as the secret identity.

Still, as Badass Digest's Devin Faraci notes, the executive who'd taken the strongest stance against Miles Morales — Avi Arad — isn't mentioned in the press release about the new film, so maybe Marvel will surprise fans once again. Also, relations have apparently been icier between Marvel and Fox, with fans speculating that Marvel is trying to ice out the X-Men and the Fantastic Four from their comics — but if the companies could work out a deal to use those heroes in a Marvel Cinematic Universe film, it could prove to be an even bigger surprise.

The new Spider-Man film is set for July 28, 2017, and he may appear in another Marvel film sooner.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Host Jon Stewart of Comedy Central's "The Daily Show with Jon Stewart" watches a video while taping "The Daily Show with Jon Stewart: Restoring Honor & Dignity to the White House" at the McNally Smith College of Music Sept. 5, 2008 in St. Paul, Minnesota.; Credit: Ethan Miller/Getty Images for Comedy Central

Host Jon Stewart announced at Tuesday's "The Daily Show" taping that he is leaving the show.

Comedy Central confirmed the news in a statement, saying that Stewart will be leaving later this year:

"For the better part of the last two decades, we have had the incredible honor and privilege of working with Jon Stewart. His comedic brilliance is second to none. Jon has been at the heart of Comedy Central, championing and nurturing the best talent in the industry, in front of and behind the camera. Through his unique voice and vision, ‘The Daily Show’ has become a cultural touchstone for millions of fans and an unparalleled platform for political comedy that will endure for years to come. Jon will remain at the helm of ‘The Daily Show’ until later this year. He is a comic genius, generous with his time and talent, and will always be a part of the Comedy Central family."

The news comes less than two months after Stephen Colbert brought "The Colbert Report" to an end in order to prepare for hosting CBS's "Late Show," replacing David Letterman after he leaves later this year.

"The Daily Show" existed before Jon Stewart, hosted from 1996 until 1998 by Craig Kilborn, but Stewart took the show into a bolder political direction and made it a cultural landmark, becoming the go-to news source for numerous young people. Polls started to show Jon Stewart as being one of the most trusted newsmen in America.

It's just over three weeks after Comedy Central launched "The Nightly Show" with Larry Wilmore and details have yet to be announced about the future of Comedy Central's late night lineup.

The show has created hosts for other networks, with Colbert leaving for CBS after getting his start as a "Daily Show" correspondent and John Oliver, who served as a fill-in host while Stewart shot the film "Rosewater," left for his own weekly rundown of the news "Last Week Tonight" at HBO. The show's starmaking power also includes actors such as Steve Carell, Ed Helms and more, and new "Saturday Night Live" Weekend Update anchor Michael Che.

Stewart didn't announce his plans for what comes next. He directed the 2014 film "Rosewater," based on journalist Maziar Bahari's memoir detailing his imprisonment in Iran following an interview with "The Daily Show's" Jason Jones.

Stewart previously talked about "Rosewater" with KPCC's "The Frame," saying at the time that "The Daily Show" isn't all fun.

"As sad as it sounds, people might say, 'Man, working at 'The Daily Show,' that's gotta be a blast. You just sit around and laugh all day,'" Stewart said. "And you're like, 'No, we have a meeting at 9, and the 9 meeting has to be over by 9:30, and the scripts have to be in by 11, because if they're not, then we miss this deadline.'"

He also told the Hollywood Reporter last summer that he didn't know how much longer he would stay with the show.

"I mean, like anything else, you do it long enough, you will take it for granted, or there will be aspects of it that are grinding. I can't say that following the news cycle as closely as we do and trying to convert that into something either joyful or important to us doesn't have its fraught moments," Stewart said.

The show, one of Comedy Central's top franchises, will likely continue. John Oliver and Stephen Colbert would have seemed like the heirs apparent before they left; of the current staff, Samantha Bee, Jason Jones and Aaasif Mandvi are the longest-running correspondents, with Bee starting all the way back in 2003. Jones filled in for Stewart as anchor last fall, assisted by his wife Samantha Bee, when Stewart was out sick.

The show has also pushed for expanded diversity in its own cast, along with launching "The Nightly Show" with a black host and a minority panel, so that could point to a more diverse host in the future. The show has also recently expanded its international perspective, with Trevor Noah covering international news, Hasan Minhaj as the new Indian correspondent and Egyptian satirist Bassem Youssef joining as a Middle East correspondent.

Correction: An earlier version of this story referred to "Rosewater" as a documentary; it is a drama, based on Maziar Bahari's memoir. KPCC regrets the error.

This story has been updated.

This content is from Southern California Public Radio. View the original story at SCPR.org.

File: (L-R) "The Sarah Silverman Program" writer Harris Wittels, comedian Sarah Silverman, executive producer/head writer Dan Sterling and actress Laura Silverman, arrive at Comedy Central's Emmy Awards party at the STK restaurant Sept. 21, 2008 in Los Angeles.; Credit: Ethan Miller/Getty Images

Harris Wittels, a comedy writer who worked on "Parks & Recreation," has died at 30, the Los Angeles Police Department's Jane Kim tells KPCC.

Wittels was discovered by his assistant around 12 p.m., Kim said, and was already dead. Kim said that Wittels' death was a possible overdose, but that the Coroner's Office would determine the cause of death. Wittels had attended drug rehab twice.

Comedy Central, where Wittels worked on "The Sarah Silverman Program" and "Secret Girlfriend," confirmed Wittels' death, as did the comedy show he appeared at Wednesday night.

Comedy Central tweet

Meltdown Show tweet

Wittels was also well known for his @Humblebrag Twitter account and later book, helping to popularize the idea online of the false modesty of bragging while trying not to look like you're bragging.

Wittels had spoken about his struggles with addiction in places including Pete Holmes's podcast "You Made It Weird" in a November episode.

"I just really stopped caring about my life," Wittels said on "You Made It Weird," explaining how he got into doing drugs. "I just really started to think, well, if I'm only here for 80 years, then who cares if I spend it high or not?"

Wittels received his first big break when Sarah Silverman saw him performing comedy and gave him a job writing for her Comedy Central show.

Wittels also wrote for HBO's "Eastbound & Down," several MTV awards shows and the American Music Awards. He had a recurring role on "Parks & Recreation" and was a regular guest on the "Comedy Bang Bang" podcast.

Comedians, actors and fans mourned Wittels' death online.

Harris Wittels Storify

See Wittels in a scene from "Parks & Recreation":

Wittels on Parks & Recreation

Listen to Wittels on "Comedy Bang Bang":

Wittels on Comedy Bang Bang

This story has been updated.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Announcement cards and envelopes by designer Marc Friedland which are used by presenters at the Oscars to announce winners are on display at the food and decor preview Feb. 4, 2015 of this years Governors Ball, the post-Oscar celebration which follows the 87th Oscars ceremony on Feb. 22 in Hollywood.; Credit: Robyn Beck/AFP/Getty Images

Ready for your 2015 Oscars party? We've got printable Oscars ballots and the bingo cards you need to prove your superiority over your movie-loving friends during your Academy Awards viewing party. Here are the party printables you'll need to play along with Sunday's show, with TV coverage kicking off at 4 p.m. Pacific. (Get caught up on KPCC's 2015 Oscars coverage right here to have more fun and help make your picks!)

Printable official Oscars ballot

• Download, print, and play at home. Listen to "The Frame's" preview of the Academy Awards, see what "FilmWeek's" critics have to say about who will win, then make your own decisions on Sunday. Our crystal ball Oscars predictor/awards tracker can also help the prognostication efforts with a rundown of nominee buzz, awards already won, official trailers, photos and more.
• You can also play along with friends online on the official Academy Awards site or with the New York Times. (If you want to see KPCC's Mike Roe's picks and play against him in either online game, go here for the official site and here for the New York Times.)

2015 Oscars ballot

Printable Oscars bingo cards

• Download, print and play at home. Use our custom generator to create as many cards as you need for your party.
• How to play: Mark off each block when you hear these words or see these things happen during the Oscars telecast on Sunday. When you get five blocks in a row (horizontally, vertically, or diagonally) stand up and shout "OSCAR!!" Alternate rules: Play as a drinking game and for every block, take a sip. Finished a row? Finish your scotch.

Interactive Oscars bingo cards 

• WNYC pays tribute to the annual exercise in entertainment award show parody with a portable, computerized bingo. Play on your phone, iPad, computer or print a card. Refresh for new combinations.

This content is from Southern California Public Radio. View the original story at SCPR.org.

A Nintendo Entertainment System.; Credit: Mark Ramsay/Flickr Creative Commons

There have been plenty of video game movies over the years, but there have been far fewer actually good ones. "Ready Player One," based on the 2011 video game-inspired novel, has the chance to be a great one thanks to the announcement that Steven Spielberg has signed on to direct.

That book was inspired by classic video games, and was written using classic video game cheats to play parts of classic games and write them into his book, author Ernest Cline said in a recent talk. That got us thinking about the classic video game cheats and secrets that stuck with us from our younger days playing classic video games — here's our top 11.

1. The Konami Code

Up up down down left right left right B A start! This code became such a part of video game culture that it got its own name. It was popularized in various games made by Konami, particularly Contra, leading to it also being known as the "Contra Code" for its ability to give you 30 lives in the game. Before the Internet, it was spread through gaming magazines and word of mouth — it was so influential that there are still developers who put it in their games. (There's even an entire Wikipedia page of games, both from Konami and others, that use the Konami Code. It's even been used on some websites.)

What is the Konami Code

2. Street Figher II Turbo's turbo

The game that I actually used a code for the most as a kid, the Super Nintendo code down, R, up, L, Y, B on the second controller didn't give you any advantages — it just kicked the speed up. By default, you had a few selections for how fast the game would be, but you could multiple that several-fold with this code, letting you and your friends battle at what at the time felt unbelievably fast.

3. Super Mario Bros.'s Minus World

This one doesn't involve a code, but players managed to discover what was deemed a glitch in the game that put you into a messed up version of another level, dubbed by fans the Minus World due to just "-1" instead of a full level number appearing at the top of the screen. There was no way to escape the glitched level, no matter how hard you might try, sending you to play it over and over again until your time ran out or you were killed by enemies. Still, modern players have found that you can go on thanks to various computer emulators and the like; see some of the worlds beyond below:

Minus World video

4. Metroid and Justin Bailey

Fans early on discovered that the password JUSTIN BAILEY allowed you to start with all of the available weapons along with plenty of life and ammo. Fans didn't know whether Justin Bailey was a reference to an actual person, just a code coincidence or something else, but that didn't stop them from eagerly playing through with this code. It also removed lead character Samus Aran from her armor, allowing players to discover that the game's star was an early female lead character, even if her armor didn't clue players in before the end of the game without the code.

Justin Bailey video

5. Doom's God mode

By typing the letters iddqd in PC game Doom, players could enable God mode, making them essentially invincible and letting them power through the early first-person shooter. The code had been available in developer id's earlier game Wolfenstein, but hadn't been quite as easily accessible. So, if you ever need a power boost when you're fighting on Mars, Doom has the answer. (Unfortunately, we don't believe this provides any extra protection for NASA's Mars rovers.)

6. Mortal Kombat's Reptile

The developers of Mortal Kombat made a battle against Reptile unbelievably hard for Mortal Kombat fans, including putting some randomness into whether doing what you were supposed to do to unlock the character would even work. Still, players happily pumped in extra quarters for the chance to face off against Reptile, a character with a look that mirrored that of characters Sub-Zero and Scorpion, just with a different color. Players had to achieve a Double Flawless victory on the Pit level, finish the match using their fatality move, and there also had to be a silhouette flying past the moon in the background — which only happened every sixth game.

Mortal Kombat: Reptile

7. The Legend of Zelda's Second Quest

The Legend of Zelda was a pretty challenging early adventure game, one of the first releases for the Nintendo home video game console. When you beat the game, you were given the option to go on a "Second Quest," which was a tweaked version of the game you just played except waaaaay harder. However, if you thought you were the coolest kid on the block and were so awesome you didn't need a warmup, you could name your character "ZELDA" (in one of the more obvious cheats in video game history) and skip ahead to that Second Quest from the start. You would then likely cry from how hard it was and start another new game with a different name.

8. NBA Jam's celebrity secret characters

A variety of celebrities from sports, music, and even politics were available by putting in various initials combined with buttons on the controller. These included then-President Bill Clinton, Al Gore, Warren Moon and more. That tradition has been continued in more recent NBA Jam games, with President Obama and others available for your video gaming pleasure.

9. GoldenEye's extra modes

There were a wide variety of cheat codes for GoldenEye, widely considered one of the all-time great first-person shooters. Sure, you could use codes to unlock different levels, but the reason these codes are remembered is because it gave you all sorts of new ways to play against your friends. The game also had an actual cheat menu that would appear if you accomplished one of a variety of goals, and from that menu you could cheat extra hard by using your controller to unlock things like a paintball mode, turbo mode, modes with both giant heads and teeny-tiny James Bonds and more.

10. Sonic The Hedgehog 2's Debug Mode

The Sonic debug mode is the perfect example of why so many games included cheats back in the day: They were often for the developers to be able to more easily play the games while looking for bugs and doing other testing. Sonic 2 let you get to an actual debug mode by playing various sounds from the level select screen (1, 9, 9, 2, 1, 1, 2, 4, for your reference), then pressing start and holding the A button. Developers later put them in for fun and intended them for the players to discover, but some of the early cheat codes were just meant for developers — but players proved more intrepid than they may have anticipated.

Sonic debug mode

11. Mike Tyson's Punch-Out: Go straight to Mike Tyson

There was actually a password mode in this game — before games had the option to save, plenty of games gave you codes that let you get back to where you were before. This is one of the examples from that darker time, where whether you played through opponents like Glass Joe and Bald Bull or not, you could try your changes against Lightning Mike (at least until the video game's license ran out and he was replaced in future editions with the way less exciting "Mr. Dream"). You better have had a pen and paper ready when your friend started yelling at you 007 373 5963 for you to use on your own copy of the game — no sharing. The game is hard enough that even Mike Tyson had some trouble fighting himself:

Mike Tyson vs. Mike Tyson

Let us know in the comments the classic video games — and the classic cheat codes and secrets — that inspired you.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Jerry "The King" Lawler with Jim Ross.; Credit: WWE

Jim Ross is the most famous pro wrestling play-by play commentator of all time. He's a native Californian, but grew up in Oklahoma and took his trademark drawl into doing commentary. He's worked in wrestling for more than 40 years, calling matches on shows seen by millions of people around the world.

This weekend, he's in the Bay Area for Wrestlemania weekend (the first Wrestlemania in Northern California, and the first in California in 10 years). Ross no longer commentates for WWE, but he's still a storyteller, online and in person. He hosts regular live storytelling shows with stories from his decades-long career and a bit of comedy, along with a live guest, and he also has a huge online presence including a podcast that went to number one in sports its first week out.

Ross has been watching wrestling since he was a kid.

"My dad wasn't a big fan of it. He missed the point. The point is not whether it's real or if it's staged. The point is, are you entertained by it, or not? And I was," Ross said.

He's been at ringside for numerous historic matches, helping the wrestlers to tell their stories ever since he got his first job in wrestling out of college at 22.

"The greater the star, the easier it is to tell their story," Ross said. "Those participants make music. They make different kinds of music, and the announcers, the broadcasters, have to be able to provide the adequate lyric to the competitors' music."

Ross's voice is so powerful that it's become a meme online to pair his voice with another dramatic footage, from sports and beyond — you can even find it paired with dramatic moments from shows like "Breaking Bad" and "Game of Thrones." Ross says that the first time he saw someone do that was with a hit by Michigan running back Jadaveon Clowney, a video which went viral and sparked others to do likewise.

The JR Treatment

"I get sent these memes all the time. 'Hey JR, check this one out.' Or people will say, somebody will make a great dunk at an NBA game, and somebody will say 'I can't wait to see this get the JR treatment.' And now there are major sports websites that will send out a tweet, 'Here's a great play from Sunday's 49er-Charger game that's got the JR treatment.' So now it's got a name. 'The JR Treatment.'"

Those viral videos have even helped him land new commentating roles since leaving WWE. He did a call of a fight between NASCAR drivers for the Daytona 500 for a special pre-show video, and it's led to him having opportunities in traditional sports.

"It's been done in boxing, and MMA. Believe it or not, I've gotten feelers that we're entertaining now from a variety of combat sports entities that actually heard what my call would sound like doing their product," Ross said. "It had my tone, had my inflection, had my level of enthusiasm."

Ross also played a huge role behind the scenes, working as WWE's executive vice president of talent and signing future stars like the Rock, Mick Foley and more. He says that Mick Foley's match against the Undertaker in 1998's Hell in a Cell match was his most memorable to call.

"I have people walk up to me and start quoting my commentary when Undertaker threw Foley off the Hell in a Cell, this massive cage with a roof on it, that was about 17 feet high from the roof to the floor," Ross said. "It looked like no human being, quite honestly, could survive that fall. You don't practice falls like that in wrestling school."

Ross has managed to stay relevant with the help of a popular podcast and 1.3 million followers on Twitter, where he regularly dispenses his thoughts on wrestling and beyond. He started doing that podcast after being lobbied to do it by "Stone Cold" Steve Austin, and continues to try new things.

"I was very reluctant to engage in social media, and primarily because we sometimes get set in our ways, especially the older we get," Ross said. "But change, for any of us, in any walk of life, whether it's your diet, it's your relationships, the way you approach your job, or any changes that you need to affect, whether it's on doctor's orders, your significant other's suggestions — change is not always a negative thing. So I got on Twitter, and then Twitter connected me to so many people."

While some may feel that pro wrestling, given its predetermined results, doesn't need real athletes, Ross disagrees and says there are plenty of reasons to want real athletes.

"They're competitive. They don't want to be on the second team. They want to be in the game. And they've been in that mindset since some of them were in little league, or Pop Warner football, or elementary school wrestling, or whatever it may be."

He says they also understand how to be coached and how to play well with others, as well as handling the bumps and bruises that come with the territory and the difficult travel schedule.

"I don't know that anybody in any entity, unless you're the most well-traveled comedian or entertainer, has that. Because the thing about pro wrestling is it doesn't have an off-season, so you don't get a chance to really go recharge your batteries. You've got to maintain that competitive edge to survive."

Ross says there's one match he wishes he had another shot at calling: Ric Flair's retirement match against Shawn Michaels at Wrestlemania 24 in Orlando at the Citrus Bowl. While Ross has traditionally been a play-by-play commentator, that night he was assigned to be a color commentator, which gave him some different challenges.

"I thought I had great stories to tell because of my relationship with Ric — I've known him for 25 years — and I didn't think that I contributed as much to that match from an emotional standpoint as I could. I was obligated to get in soundbites and get in, get out," Ross said. "That's the biggest match at the biggest stage, and I love both those guys, and I really wanted to be extra special that night, and I just don't know in my heart that we got there."

He says California has its own wrestling legacy to be proud of. The California Wrestlemania match that Ross says he'll always remember: Bret Hart versus Shawn Michaels at Wrestlemania 12 in Anaheim, where two now wrestling legends wrestled for more than an hour.

He also thinks the economics of Wrestlemania make a lot of sense for whichever city hosts it, thanks to the travelers it draws in from around the world. Cities now bid to try to bring in Wrestlemania, Ross says. With Los Angeles gearing up to build a new stadium, Ross has a Wrestlemania prediction for that stadium.

"I will bet you money — I will bet you some of my barbecue sauce — if L.A. builds a stadium, that Wrestlemania will be one of the first non-football events in that stadium. And they will sell it out. They'll fill every seat. And it'll be great for the city, and the businesses of Los Angeles.

Ross says that what made him a great broadcaster is the same thing that can make someone a success in wrestling or anywhere else — most importantly, don't talk down to your audience.

"You have to be a fan of the genre, or a fan of the game, and you have to be willing to prepare and be ready for your broadcast," Ross said. "You have to be willing to tell the story that the average fan — not the hardcore fan, but the average, casual fan can understand and relate to. ... You know, we're storytellers, and some people are just natural-born storytellers."

Ross plans to continue telling stories for the foreseeable future, on stage, online, calling matches in the legit sports world and wherever else his life takes him. He's even gotten into acting — you can see him in the new film "What Now."

"I think retirement is overblown. How many days can you go fishing? How many rounds of golf can you play?" Ross said. "I had the idea when I left WWE after 21 years, I'm going to reinvent myself. I'm not going to become a trivia answer. ... I don't think you're going to read anywhere, anytime soon, that Jim Ross has finally retired — until you read my eulogy."

Listen to the audio for the full hour-long interview with Jim Ross, talking his career past, present and future — along with the origins of his signature barbecue sauce.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Brock Lesnar after losing his championship in the main event of Wrestlemania 31.; Credit: WWE

World Wrestling Entertainment held their annual Wrestlemania show last weekend in Northern California, the culmination of another year's worth of spectacle. According to the company, it was their highest grossing event of all-time, drawing $12.6 million, with an official attendance placing it fifth on their list of all-time crowds for the event. The show was headlined by former UFC Heavyweight Champion Brock Lesnar going up against up-and-coming star (and a relative of Dwayne "The Rock" Johnson) Roman Reigns.

WWE Network

It comes at a time when the company has embarked on a new way of making money: their over-the-top online programming provider, the WWE Network, where fans can pay $9.99 a month to see programming including what formerly used to cost $45 for most shows and $60 for Wrestlemania. They're one year in now on gambling that enough fans will want the Network that it will ultimately make them more money in the long-term, despite losing that pay-per-view revenue. Wall Street doesn't appear to be buying it — after announcing the day after Wrestlemania that they'd hit 1.3 million subscribers, WWE's stock took a significant loss.

"The point is not whether it's real or if it's staged. The point is, are you entertained by it, or not?" former WWE announcer Jim Ross told KPCC in an interview. WWE is looking for more fans to be entertained enough to plunk down $9.99 for all the pro wrestling content they want.

NXT

They're also in a transitional period with their audiences. They've launched a new show that's only on the Network called "NXT," turning their minor league into a program targeting hardcore pro wrestling fans with a different style of show than the more family-targeted "Raw" and "Smackdown." It's also where they groom potential future stars, many of whom seem to break the mold of some of the traditional stars on WWE's main roster.

They're signing up talent that's been getting buzz on the independent circuits, trying to create their own underground movement that hopefully spells money, and taking the NXT brand on tour for the first time. On the Raw after Wrestlemania, several NXT stars made their debut on the main roster. That follows a sell-out crowd (albeit at a smaller 5,000 seat venue) on the Friday night before Wrestlemania for a non-televised NXT show.

Give Divas a chance

WWE also faces cultural forces pushing them in new directions, including a difference in how society deals with gender. When WWE executive Stephanie McMahon, daughter of the famed Vince McMahon, tweeted in support of Patricia Arquette's speech calling for greater equality for women at the Academy Awards, one of their own wrestlers, AJ Lee, responded by publicly calling Stephanie McMahon out on Twitter for not promoting the women in her own company equally and paying them less than the male stars.

AJ tweet 1

AJ tweet 2

Of course, the women in the company aren't given the same prominence as the men in part because it's felt that they won't make the company as much money. Still, it forced WWE's hand and Stephanie McMahon and the company as a whole publicly embraced the idea of giving the women (who WWE brands as "divas") a chance with the Give Divas A Chance movement (and accompanying trending hashtag).

What's next

The women have been promoted nearly equal to the men in that underground NXT league, but only time will tell if it continues to trickle upward. Wrestlemania didn't seem to show huge promise of that happening, with the one women's match of the show only getting a few minutes in the ring. However, the show also included a high-profile storyline with UFC female fighter and champion Ronda Rousey alongside the Rock, going up against Stephanie McMahon and Triple H, so there appears to be the room for women in prominent positions when they have the right storyline.

Whether WWE is able to wade through these forces of change to make more money — and perhaps regain some of the cultural currency that they've lost since becoming a monopoly and purchasing their top competition in 2001 — remains to be seen. They've stayed relatively steady despite a challenge from UFC, which many see as being what pro wrestling would be like if WWE didn't present fictional  They'll have to hope that giving new stars, including "divas," a chance will take them to another level.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Aryza Group has expanded its partnership with

We used to make a big deal out of Casual Fridays at work.  But now that we're entering the dog days of summer, is anyone dressing up?

Mark Austin Thomas: Business analyst Mark Lacter, dare I ask what you're wearing?

Mark Lacter: This is radio for a reason, Mark!  And certainly, don't ask that question at the L.A. Daily Journal newspaper, which recently issued a memo that laid down the law on what's not considered appropriate attire.  As in, no jeans, no sneakers (except for messengers), no sandals or flip-flops, no halter tops, no spaghetti straps, no tee-shirts.  Also, no shorts, leggings, or exercise pants.  And, if you don't measure up, you may be sent home to change clothes - without pay for the time you've missed.  Now, to be fair, the Daily Journal is a legal newspaper, and law firms - along with the courts - remain kind of a bastion for traditional business attire.

Thomas: And that means jackets and ties for men...?

Lacter: ...and skirt suits and business dresses for women.  It's the same deal for many offices in New York and Chicago.  Matter of fact, dressing down is still not especially popular in many parts of the country, according to a new survey I came across.  More than half of the respondents say it suggests an employee doesn't have respect for the workplace.  In other words, not a team player.

Thomas: But L.A. has this huge creative community where jeans and tee-shirts are almost part of the uniform.

Lacter: Yeah, the only people wearing suits at these places are the high-level executives who are actually called "suits."  This has been true in Hollywood for years, but now you're seeing it with the growth of tech companies.  Imagine how confusing it must be for an attorney who wears the standard business uniform, and who has one of these companies as his client.  And, maybe that's the point - there is no single workplace culture, even within the companies themselves.

Thomas: Is being comfortable just not on the radar at these places?

Lacter: Well, not to pick on the Daily Journal, but so what if someone who is stuck in front of a computer all day wants to be a little more comfortable in jeans?  Will the world as we know it come to a halt?  You know, the workplace is far different than it was even 10 years ago.  People are doing their jobs in all sorts of ways, whether it's working from home, or as independent contractors.  And, this is really all about common sense - so, maybe it's time the stick-in the-muds realized as much.

Thomas: Attire aside, how is the workplace itself changing?

Lacter: Some of those downtown law firms have been cutting back, which means that they don't need as much space.  Not every attorney needs a giant office.  Same with the downtown accounting firms - when folks do go to work, the office may include a fancy kitchen, a ping pong table, workstations that double as treadmills, a place to do yoga or even to take a nap.

Thomas: All this is supposed to boost productivity...

Lacter: ...which it probably does, though you do have to wonder whether having a yoga room really enhances output, or is just a way of keeping employees from not taking a job somewhere else.  My favorite perk, and I say that facetiously, is the office kegerator, which not only seems like a dumb idea, but a great way for a company to get sued if somebody has one too many.

Thomas: Quickly Mark, any news in the dispute between CBS and Time Warner Cable?

Lacter: Not good news.  Time Warner Cable offered what it said were two possible solutions to the standoff, but CBS has came back and called it a sham.  Time Warner Cable subscribers have been without CBS programming since Friday, which is already going on longer than analysts had first expected.  The fight is over re-transmission fees - the amount of money that a programmer receives from a distributor- in this case, Time Warner Cable.  CBS apparently wants a big increase, and Time Warner Cable doesn't want to pay.

Mark Lacter is a contributing writer for Los Angeles Magazine and writes the business blog at LA Observed.com.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Businesses are cutting back on hours to avoid having to provide health care coverage under the new Affordable Care Act.

Steve Julian: Business analyst Mark Lacter, who's affected here?

Mark Lacter: Thirty hours a week is the magic number for workers to be considered full time under the new law.  If a business has 50 or more full-time employees, health care coverage has to be provided.  Except that a lot business owners say that the additional cost is going to be a financial killer, so instead, some of them have been cutting back hours to below that 30-hour threshold.  More than 200,000 Californians are at risk of losing hours from the health care law - that according to one study.

Julian: What kinds of businesses are doing this?

Lacter: Restaurant chains have received much of the attention, but the city of Long Beach, as an example, is going to reduce hours for a couple of hundred of its workers.  And, last week came word that the L.A.-based clothing chain Forever 21 will cut some of its full-time employees to a maximum 29-and-a-half hours a week, and classify them as part time.  That touched off an outcry on the Internet - people were saying that Forever 21 was being unfair and greedy - though the company says that only a small number of employees are affected, and that its decision has nothing to do with the Affordable Care Act.  There's really no way to know - Forever 21 is a private company, which means it's not obligated to disclose a whole lot.  What we do know is that those people will be losing their health care coverage.

Julian: And, the ultimate impact on businesses and workers?

Lacter: Steve, you're looking at several years before the picture becomes clear.  Here in California, workers not eligible for health care through their employer can get their own individual coverage, and if their income levels are not over a certain amount, they'd be eligible for Medicaid.  And, let's not forget many businesses already provide coverage for their employees.  So, lots of rhetoric - but, not many conclusions to draw from, which does make you wonder why so many business owners are unwilling to at least give this thing a chance.  Just doesn't seem to be much generosity of spirit for their workers, not to mention any recognition that if people can go to a doctor instead of an emergency room we'd probably all be better off.

Julian: Health care is far from the only controversy for Forever 21, true?

Lacter: In some ways, it's one of the biggest Southern California success stories.  Don Chang emigrated here in 1981 from Korea at the age of 18, opened his first store in Highland Park three years later (it was called Fashion 21), and he never looked back.  Today, revenues are approaching $4 billion.  But, the guy must have some pretty hefty legal bills because his company has been accused of all kinds of workplace violations.  The lawsuits alleged that workers preparing items for the Forever 21 stores didn't receive overtime, that they didn't get required work breaks, that they received substandard wages, and that they worked in dirty and unsafe conditions - sweatshop conditions, essentially.

Julian: Are most of their claims settled out of court?  You don't hear much about them.

Lacter: They are, which means there's usually a minimal amount of media coverage.  If a privately held company decides to keep quiet by not releasing financial results or other operational information, there's not likely to be much of a story - unlike what happens with a company like Apple, which is always under scrutiny.  Sometimes, plaintiffs will try to organize class-action suits, but that's extremely tough when you're dealing with low-wage workers who are often very reluctant to get involved because of their legal status.  And, let's not forget that Forever 21 - like any low-cost retailer - is simply catering to the demand for cheap, stylish clothes that are made as quickly as possible.

Julian: I guess you can't make that happen when wages and benefits are appreciably higher than your competition.

Lacter: The next time you walk into a Forever 21 store and wonder how prices can be so reasonable, that's how.

Mark Lacter writes for Los Angeles Magazine and pens the business blog at LA Observed.com.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Across the country, the sale of electric cars is sluggish.

Susanne Whatley: But business analyst Mark Lacter, that's not quite the case in California...

Mark Lacter: Well, comparatively speaking, Susanne.  L.A. and San Francisco alone made up 35 percent of the electric cars sold in the entire U.S. during the first half of the year - 35 percent!  Keep in mind that statewide just 9,700 electric cars were sold in that six-month period, which translates to a little over 1 percent of all car sales in California.  So, they're not exactly lining up around the block, even in a region that's known for its early adopters.  Of course, electric cars were always going to be a tough sell -

Whatley: I've been driving one for about half a year now... and I absolutely love it.  But they ARE expensive, and I'm sure that's a factor.

Lacter: - and that's even after a federal tax credit, but they also require drivers to learn about recharging the battery - sometimes in not-very-convenient places - and, from a design standpoint, most of them don't stand out (one of the automakers that's now out of business had been selling what was a basically plain vanilla Mitsubishi sedan).  Now, the one notable exception is the Tesla - so long as you have at least $90,000 to shell out, and are willing to wait a while to get your car delivered.  In affluent sections of L.A., this is truly the hot car - just 600 or so Teslas have been sold in Southern California during the first seven months of the year.  It's also received rave reviews from all the big automotive publications.

Whatley: And perhaps most surprising of all, Tesla has been making money…

Lacter: That's right, although the stock price is ridiculously overvalued at around $20 billion (that's one-third the market value of General Motors, even though Tesla cranks out all of 21,000 vehicles a year while GM sells almost 5 million).  People seem to love this car almost in spite of it being battery powered, which gets us back to the challenges in trying to sell these things.  Elon Musk, who founded the company (he's also behind SpaceX and he co-founded PayPal), has managed to win over customers because the car itself is so much fun to drive.  The other makers of electric cars - not so much.

Whatley: So, for the folks still on the fence... might it be better to wait until driverless cars become available?

Lacter: That's going to be quite a wait, although all the automakers are working on their versions of self-driving cars.  The Mercedes people just announced plans to launch in 2020 - the same year that Nissan wants to bring out its car - and Google, which has had self-driving cars tooling around California for several years, is looking at 2017.  So, what we're seeing is real, but the question is what sort of real it'll turn out to be.  Certainly, the possibilities are nothing short of revolutionary - you're looking at, potentially, faster commute times because cars will be able to travel closer to one other (reaction times would be faster than with a human behind the wheel); in addition, fewer accidents and injuries (also a function of reaction times).  But, how well the vehicles work once they get beyond the testing phase is anyone's guess.  California does allow self-driving prototypes car for testing purposes, but that's far different than full-scale authorization.

Whatley: What if something goes wrong?

Lacter: That's one of the big concerns - liability, but the real issue is public acceptance.  Already, surveys are finding reluctance to buying a driverless car, or even having them on the road.  That's not a huge surprise considering how novel the concept still is - and all it takes are a few mishaps to affirm the skeptics.  All of which points to a lengthy transition period - not unlike the early days of the passenger plane, when most folks couldn't imagine getting into a flying machine.  Eventually, they got used to them, but it took time.

Whatley: And finally, some thoughts on Cal Worthington?

Lacter: Certainly one of the great showmen in the annals of L.A. broadcasting - Cal Worthington wasn't the first auto dealer to discover the benefits of commercials, but he lasted longer than anyone else, selling more than a million cars (that according to his count), and grossing billions of dollars.  The Worthington ads are sometimes considered the first infomercials - that might be a stretch, but three factors really made it all come together: Southern California's appetite for the automobile, the ease by which Cal could deliver his schtick (remember when he was strapped to the wing of a biplane?), and the fact that there was so much available air time to sell in L.A.. Definitely a legend in his own time.

Mark Lacter writes for Los Angeles Magazine and pens the business blog at LA Observed.com.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Sign ups for the Affordable Care Act start in a week, and the program is leading to changes in the way employers handle health coverage.

Steve Julian: Business analyst Mark Lacter, what's the most noticeable adjustment?

Mark Lacter: Steve, once you get beyond the squabbling over efforts to defund the new law, what's happening is quite remarkable: businesses are finding new ways to administer and pay for coverage - and some would say it's long overdue.  One interesting example: the grocery chain Trader Joe's, which is based in Monrovia, employs over 20,000 people, and shells out millions of dollars a year in helping provide its people with health insurance.  Well, Trader Joe's has decided to end coverage for part-timers working fewer than 30 hours a week - under the new law businesses are not obligated to provide benefits to employees who work less than that amount.  However, the company is giving those people $500 to go towards the purchase of premiums at the new public exchanges.  And that, along with the tax credits available, could make the new arrangement cost about the same or even cheaper than the current health care package.

Julian: How did TJ's explain this to its employees?

Lacter: The company cited the example of an employee with one child who makes $18 an hour and works 25 hours a week.  Under the old system, she pays $166 a month for coverage; under the new system, she can get a nearly identical plan for $70 a month.  Now, there are cases in which workers will end up paying more - usually it involves having a family member who makes more money, but who doesn't have access to coverage (good example would be an independent contractor or freelancer).  By the way, other companies - including the drug store chain Walgreen's - are also moving part-timers to the public market, and offering some sort of a subsidy.

Julian: I imagine not all companies are being as conscientious...

Lacter: No.  We've seen a number of corporations cut worker hours and not offer a supplemental payment.  Steve, it's worth remembering that administering health insurance is something that businesses fell into quite by accident 60 years or so ago - premiums cost next to nothing at the time, and it was seen as way of attracting workers without having to jack up wages.  The arrangement became more attractive over the years because of certain tax benefits.  But, it's far from ideal - workers move from job to job more often than they used to, and not all businesses are capable of handling the extra costs, especially small businesses.

Julian: Doesn't L.A. have a higher percentage of uninsured than elsewhere?

Lacter: Considerably higher - the Census Bureau show that 21 percent did not have coverage in 2012, which is higher than the overall national number.  Now, there are a bunch of reasons for this: L.A. has a large percentage of households that simply can't afford health insurance or don't have access to government programs, among them undocumented immigrants.  You also have big numbers of people who are self-employed and don't get covered - we're talking about freelancers or consultants of some sort.

Julian: …Or, they work for small businesses whose owners either can't afford, or don't want to provide coverage…

Lacter: That's right - the new law only requires businesses with more than 50 full-time workers to offer health insurance, and a lot of small businesses don't meet that threshold.  The Census Bureau says that in the L.A. area, one in four people with jobs do not have health insurance - and, by the way, there's been a drop-off both in the percentage of businesses in California that offer coverage.

Julian: Sounds dire.  Who picks up the cost?

Lacter: Well, we all do in one way or another - and that, of course, is the problem.  What the Affordable Care Act offers is a start in getting some of the uninsured onto the rolls.  Clearly, it's an imperfect solution that will require all sorts of adjustments, and even though everyone and their uncle seems to have formed a definitive opinion about the new law, it's going to be years before there's any real sense of how it's going.  And, let's remember, signing up for these programs is not some political act.  It's just a way for people to get health insurance for themselves and their families.

Mark Lacter writes for Los Angeles Magazine and pens the business blog at LA Observed.com.

This content is from Southern California Public Radio. View the original story at SCPR.org.

The partial federal government shutdown is one week old, but economists are still saying that its impact in Southern California and elsewhere will be limited.

Susanne Whatley: Business analyst Mark Lacter, why is that?

Mark Lacter: If you look back on the history of these things, Susanne, you see that the disputes are resolved before too much damage gets done.  As for Southern California, I notice that KPCC's Alice Walton was asking around over the weekend about the shutdown, and most folks gave it a shrug.  The regional economy is just too diversified - and not especially tied to federal employment.  You have about 46,000 federal workers employed in L.A. County in one capacity or another - that's out of a workforce of nearly 5 million.  And, now it appears as if the federal employees who have been furloughed are going to receive their back wages whenever the shutdown finally ends.

Whatley: That still might make things dicey when it comes time to pay the monthly mortgage...

Lacter: ...but at least money will be available before most folks run into serious liquidity issues.  That's what the shutdown really comes down to - inconvenience rather than dislocation.  And, you see this with the various government services affected: the E-Verify website is down - that lets business owners know whether the people they're wanting to hire can work legally in the U.S., which obviously is important.  The Small Business Administration has stopped processing loan applications, and the Federal Housing Administration is reporting delays in its loan processing, which could mean a home buyer might not complete his or her paperwork all that quickly.

Whatley: But, what if this were to go on for months?

Lacter: Well, then it would create problems, but nobody really thinks that's going to happen.  The real issue, not just nationally and regionally - but globally - is the refusal by Congress to raise the debt ceiling.  The deadline is a week from Thursday, and - of course - there's been all sorts of debate about what this would mean for the economy.

Whatley: All right, so what would this mean for the economy?

Lacter: Well, no one knows exactly.  But, then again, no one knows exactly what would happen if you fell out of a airplane without a parachute.  I just wouldn't want to test it out.  And, of course, let's keep in mind that these are manufactured crises - not reflective of anything that's going on with the real economy.  It's certainly not reflective of anything that's going on in L.A., which saw a big jump in payroll jobs for 2012 - actually it was the sharpest increase since 2005, and nearly double the national rate (that's despite an unemployment rate that remains very high in certain parts of Los Angeles).

Whatley: What about some of the big locally based companies?

Lacter: Well, if your company is publicly traded, there's a good chance your shares took a dip these past few days.  Going back to September 18, the Dow has lost almost 700 points, which - percentage-wise - is not very much, but it is reflective of how uneasy Wall Street has become.  Public companies based in the L.A. area are taking it on the chin - Disney, Amgen, Mattel, DirecTV - their stock prices are all down going back to the middle of September.

Whatley: Even so, hasn't this been a good year for the stock market?

Lacter: It has - those local companies are up anywhere from 13 percent 30 percent year to date, and the Dow is up 14 percent year to date.  Of course, the stock price of a company doesn't always match the amount of money it makes, and this year, even before worries about the debt ceiling, the numbers haven't been as good as they should be at this stage of a recovery.  And, that's why there's particular concern about next week.  You do have to wonder whether a default could have ripple effects involving trade, consumer spending, the dollar - who knows what?  Now, it's still a pretty good bet that saner heads will prevail, although there are no guarantees - and again, if worse came to worse, do you really want to be jumping out of that plane?  Guess we'll find out.

Mark Lacter writes for Los Angeles Magazine and pens the business blog at LA Observed.com.

This content is from Southern California Public Radio. View the original story at SCPR.org.

The contamination of Foster Farms chickens has provided insight into food regulation.

Steve Julian: Business analyst Mark Lacter, had we been paying attention before this happened?

Mark Lacter: You know, Steve, we often have an out of sight, out of mind attitude when it comes to food safety, and - as we're seeing with this episode - the government has a way of enabling that attitude.  What stands out, first of all, is that people started getting sick from salmonella-contaminated chicken back in March, and yet, it wasn't until the past few weeks that news stories began appearing about the seriousness of the problems.

Julian: At last check, more than 400 people have been infected, with most of them in California...

Lacter: Right, and Foster Farms, which is based in Merced County, controls two-thirds of the poultry market along the West Coast.  No fatalities so far, but many of the people who became sick had to be hospitalized - and that leads to still more concerns that the salmonella strains were resistant to antibiotics.  Now, why it took this long for consumers to be made aware that there was a problem tells you something about the way the federal government regulates poultry plants.  It was only last Friday, after the company had seen a 25 percent drop in sales, when the president of Foster Farms decided to go public.  He said he was embarrassed by the outbreak, and promised to change the company's processing facilities so that salmonella can be better identified.

Julian: Where was the US government in this?

Lacter: Apparently, the Department of Agriculture only requires testing for levels of salmonella at the time of slaughter - not later on, after the poultry is cut into parts.  Foster Farms now says it will do retesting at that later stage.  What's also interesting is that Foster Farms was not asked to recall any of its products because the chicken is considered safe as long as it's handled properly and then cooked to the right temperature, which is at least 165 degrees.  That's why some supermarkets have kept carrying the brand.

Julian: Can the government even order a recall?

Lacter: Not in a case like this - and that's because of a court case in the 1990s involving a Texas meat producer that federal inspectors were ready to shut down due to a salmonella outbreak involving ground beef.  The company sued the government, arguing that salmonella is naturally occurring, and therefore, not an adulterant subject to government regulation.  And the courts agreed.  Foster Farms has been using much the same argument.

Julian: Why isn't there more public outrage over this?

Lacter: Well, again, we go back to out of sight, out of mind.  Slaughterhouses are not exactly fun places, and they're usually not well covered by the news media until something bad happens, like the Foster Farms situation.

Julian: Chino comes to mind - a story we covered.

Lacter: That's when an animal rights group used a hidden camera to record inhumane treatment of cattle at a meat processing plant.  That company was forced into bankruptcy.  Another reason coverage is spotty is because it's not always easy to trace someone's illness to a contaminated piece of meat or chicken.  And, that leads to lots of misinformation.  The broader issue is figuring out a way to monitor these facilities without the process becoming cost prohibitive.  The Agriculture Department has been pushing a pilot program that would allow plants to speed up processing lines, and replace government inspectors with employees from the poultry companies themselves.

Julian: The idea being?

Lacter: The idea being to establish safeguards that can prevent problems before they get out of hand.  But, this is pretty controversial stuff, and advocacy groups representing poultry workers say that processing lines need to be slowed down, not speeded up.  So, you have this ongoing back and forth involving industry, government, consumer groups, and labor organizations.  And unfortunately, most of us tend to move on after one of these outbreaks gets cleared up.

Mark Lacter writes for Los Angeles Magazine and pens the business blog at LA Observed.com.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Source: Dr. Douglas Loe 11/12/2024

Sernova Corp. (SVA:TSX.V; SEOVF:OTCQB; PSH:XERTA) should benefit from Sana Biotechnology's recent prioritization of its diabetes-targeted cell therapy programs, reported Leede Financial Inc. analyst Dr. Douglas Loe in a Nov. 6 research note. Now Sana's clinical programs in oncology and Huntington's disease are a secondary focus.

"Our model assumes that Sernova's cell reservoir device Cell Pouch will itself remain focused on Type 1 diabetes, and we are thus encouraged to see a U.S. peer prioritize its pipeline in ways that are consistent with our own views on how priorities in regenerative medicine will evolve in coming years," Loe wrote.

500% Potential Return

Leede has a CA$1.50 per share target price on Sernova, trading at the time of the report at about CA$0.25 per share, noted Loe.

"At current price levels, our price target corresponds to a one-year return of 500%, a return that we believe is imminently achievable by 2025E but likely with a milestone-driven, and not a linear, trajectory," the analyst wrote.

The company is a Speculative Buy.

Synergistic Potential Exists

Loe highlighted that Sernova and Sana could benefit from aligning their programs, on a timeline providing synergies to both.

"We are encouraged to see a leading regenerative firm choose to expedite its diabetes cell therapy program in preference to other initiatives that it could fund if it chose to," Loe wrote. "This is consistent with our own view that the most attractive medical market for regenerative firms, and for Sernova, to target is the large and growing diabetes market both for economic and technical reasons."

Sana's Diabetes Programs

Sana's primary focus is its program to treat Type 1 diabetes with its Phase 1-stage, hypo-immune platform (HIP)-modified primary pancreatic islet cell therapy UP421 and its preclinical HIP-modified, stem cell-derived pancreatic islet platform SC451.

Through this platform, regenerative cell therapies can be modified genetically to evade immune detection post implantation. This is achieved by reducing expression of major histocompatibility-complex, classes one and two human leukocyte antigens while increasing expression of CD24. This is a surface protein found on stem cells in the pancreas.

Sernova's Cell Reservoir Platform

As for Sernova, it has a well-vascularized, sustainably functioning cell reservoir platform, Cell Pouch, proven for some time. Development of regenerative islet platform technology is now catching up. Sernova has a clinical trial underway that combines the two technologies. This Phase 1 trial in diabetes, in partnership with the University of Chicago, already has shown "impressive long-term insulin independence data" up to five years in some study participants.

This is "well beyond what we believe is a reasonable threshold for the U.S. Food and Drug Administration to require for future Cell Pouch approval, at least for Type 1 diabetes," Loe wrote.

Currently, with regard to this program, Sernova optimizing background immunosuppression in Cell Pouch patients. Details of its new immunosuppressive regimen are expected in the biotech's next Phase 1 study update, likely in early H1/25.

"Future enrollees could be subjected to novel immunosuppressive therapies that conceivably could extend islet survival and perhaps even reduce the immunosuppressive burden that transplant patients must endure at present," Loe commented.

Further, Sernova is considering conducting a Phase 1 study using its Cell Pouch and Evotec AG's stem-cell-derived iBeta platform to treat diabetes. Before this can happen, though, Evotec needs to be able to produce iBeta at a clinical scale, which Loe expects can happen by H2/25.

"We see no reason why Sana and its UP421/SC451 modified islet platforms could not be incorporated into a Cell Pouch environment as a way to sustain their therapeutic half-life in the body post-implantation," wrote Loe.

Possible Stock Price Movers

Loe provided a handful of potential catalysts for Sernova's share price. They are:

1) Sernova's conclusion of its ongoing Phase 1 study in Type 1 diabetes with the University of Chicago, which Loe asserted should happen a quickly as possible given available capital. Also, the biotech should incorporate into this trial or a separate one to commence soon after, regeneratively produced pancreatic islets.

2) Sernova, in partnership with Sana, launching a Phase 1 iBeta/Cell Pouch trial late next year, which could boost Sernova's share price.

3) Sernova identifying additional developers of regenerative cell therapies with which it could combine Cell Pouch in mutually beneficial ways.

4) Sernova starting clinical programs in hemophilia A and in thyroid disease, expected to happen in the coming quarters.

5) Sernova incorporating its confocal cell coating technology into one or more future protocols for stem cell-derived pancreatic islet production, even its current Phase 1 diabetes trial with the University of Chicago. Before this can happen, however, coating polymer composition and manufacturing methodologies must be honed to meet good manufacturing practices specifications.

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Important Disclosures:

1. Sernova Corp. has a consulting relationship with Street Smart an affiliate of Streetwise Reports. Street Smart Clients pay a monthly consulting fee between US$8,000 and US$20,000.
2. As of the date of this article, officers and/or employees of Streetwise Reports LLC (including members of their household) own securities of Sernova Corp.
3. Doresa Banning wrote this article for Streetwise Reports LLC and provides services to Streetwise Reports as an independent contractor.
4. This article does not constitute investment advice and is not a solicitation for any investment. Streetwise Reports does not render general or specific investment advice and the information on Streetwise Reports should not be considered a recommendation to buy or sell any security. Each reader is encouraged to consult with his or her personal financial adviser and perform their own comprehensive investment research. By opening this page, each reader accepts and agrees to Streetwise Reports' terms of use and full legal disclaimer. Streetwise Reports does not endorse or recommend the business, products, services or securities of any company.
5. This article does not constitute medical advice. Officers, employees and contributors to Streetwise Reports are not licensed medical professionals. Readers should always contact their healthcare professionals for medical advice.

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Disclosures for Leede Financial Inc., Sernova Corp., November 6, 2024

Important Information and Legal Disclaimers Leede Financial Inc. (Leede) is a member of the Canadian Investment Regulatory Organization (CIRO) and a member of the Canadian Investor Protection Fund (CIPF). This document is not an offer to buy or sell or a solicitation of an offer to buy or sell any security or instrument or to participate in any particular investing strategy. Data from various sources were used in the preparation of these documents; the information is believed but in no way warranted to be reliable, accurate and appropriate. All information is as of the date of publication and is subject to change without notice. Any opinions or recommendations expressed herein do not necessarily reflect those of Leede. Leede cannot accept any trading instructions via e-mail as the timely receipt of e-mail messages, or their integrity over the Internet, cannot be guaranteed. Dividend yields change as stock prices change, and companies may change or cancel dividend payments in the future. All securities involve varying amounts of risk, and their values will fluctuate, and the fluctuation of foreign currency exchange rates will also impact your investment returns if measured in Canadian Dollars. Past performance does not guarantee future returns, investments may increase or decrease in value, and you may lose money. Leede employees may buy and sell shares of the companies that are recommended for their own accounts and for the accounts of other clients. Disclosure codes are used in accordance with Policy 3600 of CIRO.

The analyst or any associate of the analyst responsible for the report or public comment hold shares or is short any of the company's securities directly or through derivatives.

Leede provided investment banking services for the company during the 12 months preceding the publication of the research report.

Dissemination All final research reports are disseminated to existing and potential institutional clients of Leede Financial Inc. (Leede) in electronic form to intended recipients thorough e-mail and third-party aggregators. Research reports are posted to the Leede website and are accessible to customers who are entitled to the firm’s research. Reproduction of this report in whole or in part without permission is prohibited.

Research Analyst Certification The Research Analyst(s) who prepare this report certify that their respective report accurately reflects his/her personal opinion and that no part of his/her compensation was, is, or will be directly or indirectly related to the specific recommendations or views as to the securities or companies. Leede Financial Inc. (Leede) compensates its research analysts from a variety of sources and research analysts may or may not receive compensation based upon Leede investment banking revenue.

Canadian Disclosures This research has been approved by Leede Financial Inc. (Leede), which accepts sole responsibility for this research and its dissemination in Canada. Leede is registered and regulated by the Canadian Investment Regulatory Organization (CIRO) and is a member of the Canadian Investor Protection Fund (CIPF). Canadian clients wishing to effect transactions in any designated investment discussed should do so through a Leede Registered Representative.

U.S. Disclosures This research report was prepared by Leede Financial Inc. (Leede). Leede is registered and regulated by the Canadian Investment Regulatory Organization (CIRO) and is a member of the Canadian Investor Protection Fund (CIPF). This report does not constitute an offer to sell or the solicitation of an offer to buy any of the securities discussed herein. Leede is not registered as a broker-dealer in the United States and is not subject to U.S. rules regarding the preparation of research reports and the independence of research analysts. Any resulting transactions should be effected through a U.S. broker-dealer.

( Companies Mentioned: SVA:TSX.V;SEOVF:OTCQB;PSH:XERTA, )

We started our new schedule for "AirTalk" this week. With the expansion of "Brand & Martinez" to two hours, we're now on from 11 a.m. to 1 p.m. Friday's Film Week on AirTalk moves into the noon hour.

I’ve been asked many times in the past couple of days how I feel about the shift. My answer is that it’s working out great for our “AirTalk” team.  We still get in at 8 each morning, but now have three hours to prepare our timeliest topics. It also puts us into the noon hour, where we have the chance to connect with folks heading to lunch. 

I know it’s not all good for some listeners, who might have a harder time listening an hour later. There are also, undoubtedly, fans of “The World” who would’ve rather had it stay at noon instead of moving to 2 p.m. I hope you’ll give us a chance in the new slot and that you find the new lineup still fits your schedule. 

If it doesn’t, remember that you can hear all of our local programs online, at the time of your choosing, at www.kpcc.org.

As for the irreplaceable Patt Morrison, she’ll continue to provide her talents to KPCC listeners with regular features and interviews throughout our day. Though I know many fans of Patt are very sad to see her daily program end, I think Patt’s high-profile segments will be a terrific boost to all the other shows where they’ll be heard.

This will make Patt a presence everywhere on our schedule, including “AirTalk,” which is pretty exciting.

This content is from Southern California Public Radio. View the original story at SCPR.org.

I know these Presidential debates aren’t debates in the historical sense.  Regardless, I’m looking forward to seeing how both men do on a topic of immense complexity.  Is Mitt Romney going to be more forthcoming about what tax deductions he’d want cut to keep his tax reform plan from ballooning the deficit?  Will President Obama  give more detail about how he would improve the economy, short of a government stimulus that could never get through a GOP Congress?

I’ll be live tweeting during the debate.  Join me @AirTalk #debates.

This content is from Southern California Public Radio. View the original story at SCPR.org.

US President Barack Obama and Republican Presidential nominee Mitt Romney debate on October 16, 2012 at Hofstra University in Hempstead, New York. Undecided voters asked questions during a town hall format.; Credit: STAN HONDA/AFP/Getty Images

There continue to be questions about how moderators approach Presidential debates and about whether the extra time President Obama has received in the first two debates indicates moderator bias in his favor. 

I had chalked up the concerns to Republican hyper-partisanship, such as we saw with many Democrats criticizing Jim Lehrer for his moderating — as though Obama would’ve won the first debate if only Lehrer had asserted himself more.   However, even CNN has been doing significant follow-up on its own Candy Crowley’s performance in debate number two. 

Maybe it’s not just hardcore GOP loyalists who are questioning Crowley’s decision-making on when to cut in and when to allow the candidates to take more time. I thought she did pretty well, but there are plenty of critics.

As someone who has moderated hundreds of debates, I thought I’d share my thoughts on what we’ve seen so far in this election. Though I’ve never moderated a Presidential debate, with its incredible level of attention, concern about rules, and demands by campaigns, there are certain fundamentals regardless of the office or issue at stake.

Time Doesn't Matter...Too Much
First, as strange as this may sound, the time taken by each candidate has little to do with who has an advantage.   Yes, it’s always possible for a candidate to use another minute to fire off the defining line of the night. However, the well-practiced zingers or essential policy explainers are not left to the end of a candidate’s statement, as the clock is running out. 

I’m sure Mitt Romney wasn’t thinking after the last debate, “If only I would’ve had that extra 90-seconds, and Obama hadn’t gotten 90 more than he deserved.”  Both men front-loaded their major talking points and were going to get them in. Neither man could legitimately say he didn’t have a chance to make his strongest points. At some point, a time advantage could make a difference in who wins or loses, but an extra 90-seconds in a debate longer than 90-minutes isn’t going to do it.

Serving The Audience
As a moderator, you also have to think about what best serves your audience. I never guarantee candidates equal time, as it’s my job to serve the listeners, not their campaigns. I strive to get close to equal time, but can’t make any guarantee. Some speakers get to the point succinctly and have their points well put together. Others are messier in their arguments and eat up time just building up any head of steam. 

If the moderator holds to a strict time limit, you run the risk of frustrating listeners by cutting off the rambler just as the candidate is getting to the point. There are methods a moderator can use to help guide the speaker toward being more succinct, but there’s no guarantee the person will be able to comply.

Isn’t this inherently unfair to the succinct speaker? No. The purpose of the debate is to allow the ideas to compete.  It’s not a boxing match that’s about landing punches in a given time. The succinct debater has a big advantage, regardless of how much time the candidate has. That’s why Mitt Romney’s victory in the first debate was so lopsided — he won on the conciseness and clarity of his answers, coupled with Obama’s inability to get to his central points.  Obviously, there are those who thought Obama’s arguments were still more compelling than Romney’s, and that Romney lacked essential details.  However, for most viewers of the first debate, it was stylistically no contest.

Equal Time Is Not A Guarantee
When candidates are allowed to talk to each other directly, it’s very difficult to assure equal time. Even CNN’s clock that registers elapsed time for each candidate is subject to squishiness. Unless a debate is extremely formal, with carefully controlled time limits and a ban on candidates following-up with each other, you’re only going to have an approximation of time balance. I thought Crowley did pretty well to land the second debate with the balance she did. I’m not sure I could get it that close for a debate of that length. She had the added challenge of trying to determine when to cut in on President Obama’s lengthier answers. Also, Romney’s speaking rhythm allows more space for interruption. It’s tougher to break in on Obama.

Moderating Is A Balancing Act
Moderators are always trying to balance a need to move on to the next topic with allowing a candidate to answer an opponent’s charge. Sometimes, you open that door for a candidate, only to regret it later when the politician starts into a monologue, instead of confining the response to the previous challenge. Sometimes moderators, having gotten burned, will become less tolerant of such expansive rebuttals, as the debate goes on. Moderators are always juggling competing goals, and it’s a difficult job (at least for me).

Unfortunately, there are those who think debate moderators attempt to influence the outcome of the debate and the performances of the candidates. Maybe I’m naïve, but I can’t imagine any journalist who’s worked hard enough to get to the position of Presidential debate moderator subordinating his or her career in an effort to getting someone elected. Mainstream political journalism is like national sports reporting. You really don’t care who wins the Super Bowl, you want great story lines to explore with your audience. Yes, sports reporters have affinities for the hometown teams of their youth, but that can’t compete with the professional goal of covering great stories. 

Yes, most journalists in mainstream media probably have a stronger cultural and political affinity for Obama, as he’s more like them. However, it doesn’t mean a journalist is going to sacrifice the better story to intentionally provide a benefit to the President.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Yes, we've finally reached the culminating day that we've been pointing to for the past 18 months -- Election Day!  However, it's quite different from those of the past.  An estimated 40% of voters have already cast ballots, so it makes the actual day a bit less climactic.  We might also lack a clear winner by Wednesday morning. 

It's possible that the swing state votes are so close that it's impossible to accurately determine the electoral vote.  Then we'll have to exercise extreme patience through the official counts and inevitable legal challenges.  It could be a mess.

It could also, of course, be over by the time polls close in California.  We only have a few hours to wait until we'll know.

I'll be anchoring KPCC's election night coverage, starting at 8 p.m.  NPR's coverage starts us off at 5 p.m., and we'll intersperse national and California returns into our comprehensive KPCC coverage until late Tuesday night.  I hope you'll join me, Patt Morrison, and the full KPCC news team.

This content is from Southern California Public Radio. View the original story at SCPR.org.

His expression said it all.  KPCC Director of On-Air Fundraising Rob Risko walked into my studio about 10:45 a.m. to update me on where we stood with our Fall member drive.  I knew we had a $10,000 challenge that had started first thing in the morning, but didn't have any idea how far behind we had fallen in reaching the required 1,000 member threshold.

 Rob gave it to me straight -- we had to attract well over 500 members during "AirTalk" to meet the challenge.  I knew that was nearly impossible during a full two-hour show, let alone one that would be significantly pre-empted by the President's news conference.  Regardless, I knew we had to do our best and hope our listeners would contribute in a record-setting way.  Boy, did they.

We didn't start our show until 11:25 a.m., following the news conference.  Right off the bat the phones started ringing and the KPCC website starting humming.  The volume of member contributions stayed high with only a few exceptions.  There were times we could barely keep track of how many members were coming in.  It was one of the most exciting and rewarding experiences I've had in all my years hosting "AirTalk."

I've been on a high all afternoon thinking about how commited our listeners are to the mission of KPCC.  You've made me very happy, and very proud of our audience.  Thank you for a wonderful show of support.  I will long remember this day.

By the way, we set a fundraising record for "AirTalk" with today's show.  We're still tallying it all up.  I'll have the totals for you tomorrow morning at 11.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Director Michael Apted (L) with Larry Mantle in the AirTalk studio.

This past Wednesday on "AirTalk," film director Michael Apted came in to talk with us about his eighth documentary in the series that's followed the lives of 13 people, beginning in 1964 when the kids were seven.  They've shared their stories with Apted every seven years, and he's clearly invested a lot of emotion into this project.

"56 Up" is wonderful for how it shows the mid-life evolution of the participants.  Apted includes scenes from earlier interviews, so that we see what aspects of today's 56-year-olds were present in childhood and what turns their lives have made over these years. 

"56 Up" is showing at the Nuart in West Los Angeles, and Apted will be doing Q-and-A at some of the screenings.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Pictured: Larry broadcasting AirTalk from the Mantle household for the first time last Friday.; Credit: Larry Mantle/KPCC

Dear KPCC Listener,

I hope you and your family are staying safe and healthy during this pandemic. We’re doing well at the Mantle house, but with Kristen and our son Desmond working and studying at home, we’re experiencing some of the same daily logistical challenges you likely are. With that in mind, I’d like to update you on the dramatic changes that have occurred with AirTalk during this time of COVID-19.

Every day a noted medical expert is joining us to answer listener questions. It’s allowed us to stay on the cutting edge of COVID-19 and public health developments.

We’re also continuing to convene the largest conversation anywhere in Southern California, but with a new focus. Each day listeners are describing how they’re dealing with the coronavirus, whether staying at home or providing essential services to our community. We’ve heard from students studying online, truck drivers looking for open restrooms on the highway, restaurant owners and employees wondering when, or if, they’ll be able to reopen, and listeners living in their cars seeking a hotel room or shower. In 35 years of hosting AirTalk, I’ve never experienced a time of greater importance for bringing Angelenos together. It’s vital that we talk with - and hear from - each other as we meet this experience together.

This wasn’t how I’d anticipated the 35th anniversary month of AirTalk, but I’m deeply appreciative of the work our dedicated producers are doing while they work from home. A prime example came last week when a hospital emergency forced our physician guest to cancel shortly before airtime. Our producers leapt to action, quickly finding noted infectious disease specialist Dr. Peter Chin-Hong to step right in.

When we finished the live segment, I thanked Dr. Chin-Hong for dropping his important work at UCSF Medical Center to join us. He replied that it’s always a pleasure to speak to one of his favorite audiences.

I couldn’t agree more. KPCC listeners are deeply devoted, not just to their favorite programs, but to the irreplaceable mission of KPCC. We’ll do everything we can during this difficult time to serve that mission – by serving you. Thank you for giving us that opportunity.

Sincerely,
Larry Mantle
Host, AirTalk

P.S. KPCC has always been funded by listeners, and member support is truly critical at this time. With recent substantial losses of sponsor support related to the pandemic, every donation makes a tremendous impact for this vital public service. If you can, please make a gift today to sustain the journalism you and your community needs.

This content is from Southern California Public Radio. View the original story at SCPR.org.

In case you missed the March for Science, last month?  I have the report!  Not that I went, no. Science enthusiasts all, my household was planning on going—  But then my younger teen daughter got felled by "bacteria"—  Possibly brought on by a dubious "pizza day" at her science magnet.

So I spent that Saturday at home, taking care of her— But we streamed the Washington DC and other marches, live on CNN!  So here is my report!

Let's quickly review the main points.  Worldwide, there were 600-plus cities participating, with high levels of enthusiasm.  The March for Science's stated mission was to be a positive, non-partisan march for scientists and scientific principles.  That alone is such a wonderful, counterintuitive idea.  Much humor and wit was seen.

As I did not get to go, and make my own hilarious sign—?  To honor the spirit of the occasion I would like to share two favorite jokes.

First: How do you tell the difference between an introverted and an extroverted mathematician? 
For the whole time the introverted mathematician is talking to you, he looks down at his shoes.  When the extroverted mathematician talks to you, the whole time he looks down at your shoes.  Ba-dum-bum.

I know I used the pronoun "he" in that joke—  As if to imply all left-brained people are male.  But no!  So here's the saying from when I attended Caltech—  Way back in the '80s—  And the male to female ratio was 7 to 1.  "Caltech: where the odds are good, but the good are odd."

Now to some of the funny—and sometimes punny—March for Science signs:

"If you're not the solution, you're the precipitate!"

That was next to: "Protest Cosine, Protest Sine."  Get it?  Protest. . . Sine?  Puns are hard on the radio.  So let's finish with the more "meta": "What do we want?  Evidence based research!  When do we want it?  After peer review!"  

Of course, there were less than non-partisan messages, too.  Just reporting here?  There were signs with the phrases "Black Hole" and "Absolute Zero" ghosted over our president's recognizeable silhouette.  The live feed from San Francisco brought: "Trump believes there's no global warming, as nothing is hotter than Ivanka."

That one made me snort, but I had to quickly tell my daughter, "that is totally inappropriate."
We decided a good sign was: "Mitosis, Not Division."

And a cute one on a dog that everyone can agree on.  "Support Labs."  Labs. 

Next week: Science is Love!

This content is from Southern California Public Radio. View the original story at SCPR.org.

 
So, my 15 year old science magnet daughter and I experienced last month's exciting March for Science—!  From home, as she was temporarily felled by some bacteria.  Consuming an unscientific "cure" of chocolate pudding—?  We watched the march on CNN.

Now, the news changes so quickly you may not remember that just one month ago—?  There were shock waves due to proposed massive federal budget cuts—  Not just to climate change research, but to—surely the more non-controversial —National Institutes of Health.  I mean, health?  Who's anti-health?  Even MacDonald's is serving apple slices now, and kale!

The march was a mix of passion and fun. There were lots of great signs, including one with the classic line: If you're not the solution, you're the precipitate! Marchers came dressed as Einstein, dinosaurs, polar bears.

Then again—  And admittedly, at home, we were wearing bathrobes rather than labcoats—? A couple of humble notes.

 Some of the speakers in DC were less scientists than YouTube science explainers.  And pure research scientists—not to mention philosophers—might question some of the applause lines.  And I quote: "Science is inherently political!"  "Science is objective, but it is not neutral!"  What?  Then some of the marchers chanted back, with a decided New Age lilt: "Science is hope!"  "Science is our planet!"  "Peace, love, science!"  

I heard myself grousing to my daughter: "Sure.  It's like 'Nature.'  To some, 'Nature' is a beautiful flower.  But 'Nature' is also Stage 5 hurricanes and poison frogs who eat their own offspring.  And—and pitcher plants!  Have you seen pitcher plants?" 

The chants continued:  "Health is science!  Safety is science!  Clean water is science!  I yell at the TV: "PS: Nuclear missiles from North Korea?  SCIENCE!"

There were also heartfelt pleas from the stage for more "K-12 hands-on STEM-based learning."  I sympathize. I marched for that when my daughters were in elementary school.  Of course we want our children to be turned on to science—  To the classroom volcanos comically exploding with baking soda. To the wonders of milk carton pea plants, sunny farms of ladybugs.

But eventually, inexorably, comes The Ugly.  The multiplication tables, long division, algebra, trig, then calculus, if a career in science is really being pursued.  I just heard about a senior I know, an exceptional—and well-rounded—student.  He has a 4.5 GPA and almost-perfect SAT's, nosebleed-high!  But he has been shut out by all the UC's he applied to, including his third choice, UC San Diego.  Mwah!  SCIENCE!

Still, quibbles aside, science is the future.  We applaud all, and must forge on. Chocolate pudding recommended.

This content is from Southern California Public Radio. View the original story at SCPR.org.

 I would like to apologize to our neighbors, block, zip code—  Really, to everyone, in Los Angeles?  For our front lawn.  True, the word "lawn" is stretching it.  It is more an ugly brown snarl.  I want to throw a sheet over it, like a corpse!  Or at least put up a sign that says, "We know, we know.  And we're sorry!"

When I bought the house many years ago, the grass was green.  Our gardener Vic was a genius at setting sprinkler timers—  I have a physics degree, and couldn't figure it out—  The lawns looked great and then we got our first—?  Well, it was less a water "bill" than a water citation.  A water tirade.  A water hazing.  Our utility company began mailing us hurtful bar graphs, showing what hogs we were compared to our water-conservant neighbors.

So in deference to Jerry Brown's drought emergency, we decided to let the lawn turn the color of the governor's name.  It was a badge of eco-honor.  But then, another problem. Every Saturday morning at 8 gardener Vic showed up with a high-pitched, shrieking machine that he would use to blow dead leaves around our dead yard for an hour.  The ear-splitting sound was no doubt meant to show us that he was busy quote unquote "gardening."

It took another two years for me to let him go—  The irony was that I would have kept paying him to stop leaf-blowing—  But he refused—  Then we go out of town for two months and it rains.  A lot.  We return to "grass" that is almost waist high.  I use the word "grass" but in fact this greenery looks sub-tropical.  There are giant tear-drop-shaped leaves and thick leathery stems and twisting vines.I struggle with the weed-whacker to take off the top foot of it— I'm startled by a swarm of exotic butterflies and insects. I hear a shuh-duh-duh-duh-duh.  I'm actually a little spooked.  What will I find in there next?  A pterodactyl?  A cow?  A baby?

The rains go away—  And the area turns Jerry Brown again—  But now, since I gave the jungle a very messy, tortured haircut, instead of just a sedate dead lawn it looks like crazy people live here.  We consider installing a drought resistant garden, but we get quotes of $10,000!  Maybe we should scatter dozens of pots of little cacti around the yard. Or maybe we should just park our cars there.  

Yes, that's the ticket.  My car is a Prius.  It's eco-fashionable.

Next week: The window treatments of your dreams.

This content is from Southern California Public Radio. View the original story at SCPR.org.

My 16 year old was complaining about too much light in her bedroom—   Her curtains are too gauzy—  It makes it hard for her to sleep in 'til noon, which she considers her right in summer— 

Because I know nothing, I foolishly said, "Let's get you some blinds!"

Swirling a fresh cup of coffee, a divorced mom taking care of business, I contact my virtual "husband"—  Angie—  Who has a list.

I type in "blinds"—  Do I mean "custom blinds"?  Sure!  Here's a 10% off coupon—  I'm printing money!  For a highly-rated custom blinds guy named Roger—  Within two hours he's at my house for a free estimate!  Hashtag Winning!

Roger is charming, friendly, conversational.  He oohs and aahs over our old Craftsman house, with its large, beautiful, slightly "unusually-sized" windows.  Thatshould have been the tipoff that another custom-zero was being custom-added to the price, but I thought nothing of it.  Oh no!  I offered Roger a cup of coffee—  He asked what I did for a living—I said I was a writer—  He asked what kind—

Now I know that this is called "bonding" and you should not do it when getting a quote unquote free estimate—  I realize I should have said, "I am unemployed," and burst into tears rather than trying to make my career sound so lucrative.  Roger then spends what seems like half an hour—he's thorough!—measuring two windows—  Then he goes to his truck and returns with a thick, beautifully bound binder.  Full of blinds.

Not just blinds.  And I quote: "Window treatments of your dreams"—  And I thought, "Who dreams of window treatments?"  Someone, because there were honeycomb ones, blackout ones, vertical ones—  With different kinds of pulleys, cords, and stylish valences—  In complicated colors like Banana Ice Milk and Taos Midnight Persimmon—  I start fearing that aromas will be next!
           

Bottom line?  For two bedroom windows, it will take three weeks for the custom shades to arrive.  Cost?  $1500.  "They will look amazing!" Roger enthuses.  Inwardly, I agree.  They will be the most amazing thing in my teen's messy bedroom piled with laundry, makeup, art supplies and crumpled tissues.  We just want something to block the light.  After Roger leaves—  And the air is thick with mutual disappointment—  I eye a poster board from my younger daughter's science fair project.  I contemplate simply nailing blankets over the windows.

In the end, I give my teen a nice new sleep mask.  Great solution!  Although that night I do indeed dream. . . of window treatments!

Next week: House Painting Hell!

This content is from Southern California Public Radio. View the original story at SCPR.org.

 If only home reno was as simple as on "Fixer Upper"—  The popular TV show featuring Chip and Joanna Gaines.  These toothsome Texans show an anxious couple three falling down houses—

 The couple picks one—  Chip and Joanna sledgehammer it, tear off the "ship lap"— Repaint it cobalt, festoon it with design elements from Joanna's handy online store— Stainless steel fixtures, antique farm lamps, throw pillows thatsay "Gather"—  Two months later, the Gainses pull apart life-sized photo panels of the old house to reveal the new, and the couple weeps with joy!

"You have to live in Texas to be on the show," says my friend Jan. "If it were LA, you'd spend a year just waiting for permits."

"I like how easy they make it," I say.  "The couple just says what they're like—She says: 'I'm a homebody.  He's outdoorsy.'  They go away.  Two months later they magically return to a landscaped backyard terrace that 'brings the outdoors in'—"

"With a throw pillow that says 'Nature,'" adds friend Mary. 

"Exactly!" exclaims Jan.  "In Eagle Rock we just wanted a drought-resistant yard!  This master gardener—  That's right, master gardener—  Her estimate included 10 hours of design at $150 an hour and we had to participate!  There was a lengthy questionnaire about our 'aesthetic goals' and 'plant preferences'—  And I'm going, 'I already went to college!  Just plant something—'"

"With a throw pillow that says 'Water,''" says Mary.

"Contractors!" I say.  "I was trying to get just the outside of our house repainted.  The same color.

From Angie's List, I got three estimates.  The first—$20,000!  Done in two weeks.  Seemed like a lot.  Second—$11,000!  One guy.  An artisan.  He estimated it would take him two months."

"Until he falls off the ladder and breaks his hip—then years could go by," says Jan.

"Third estimate?  $3500.  Done in three days."

"How is that possible?" Mary asks.  "Is the paint radioactive?"

"Oh no," I say.  "The crew shows up on time, 9 a.m. on Tuesday, they're professional, they're neat, they're focused.  They measure, cover, tape—"

"And the second day they don't show up," says Jan.

"Oh no, the second day more painters show up.  There are 12 of them, working 10 hours a day.

And then, in slow motion horror, I'm taking out a calculator, trying to figure out how much they're getting paid.  The house looks great but I feel terrible. So I brought them cookies."

"Add a throw pillow from Joanna's store that says 'Guilt,'" says Mary.

"Oh no," I say. Too expensive."

This content is from Southern California Public Radio. View the original story at SCPR.org.

The Getty spent $65m (and change) for this late Manet masterpiece, "Spring."

A  132-year-old vision of springtime has landed permanently at the Getty Museum, smack in the middle of this California autumn: "Spring (Jeanne Demarsy)," one of Impressionist painter Edouard Manet’s  last completed pictures.

Here's what Getty Director Timothy Potts had to say about the artist:

Manet was the ultimate painter’s painter: totally committed to his craft, solidly grounded in the history of painting and yet determined to carve out a new path for himself and for modern art. ... Alone of his contemporaries (the only one who comes near is Degas), Manet achieved this almost impossible balancing act, absorbing and channeling the achievements of the past into a radically new vision of what painting could be.

"Spring" somehow manages to be the evocation of youth itself and all its hopes. The subject is 16-year-old actress Jeanne Demarsy, just then seeing her stage career ascend at the same time Manet neared the end of his own career. (He died at age 51 in 1883,  soon after the painting went on display.) 

For most of the years since its creation, the picture has been in private hands. It was recently on loan to the National Gallery.

Getty Assistant Curator Scott Allan said that the Getty worked hard to acquire "Spring" and was lucky to get her. According to news reports, the Christie's auction price paid was an eyebrow-lifting $65 million — about double the top previous sale price for a Manet. "We don’t discuss the price," Potts said.

At the Getty, "Spring (Jeanne Demarsy)" hangs next to an early Manet in the museum's Impressionist-Post Impressionist gallery. It was intended to be one of the "Four Seasons" by the late-19th century French master. The series was never completed (although "Autumn" hangs in a museum in France).

(More seasoning: Manet's "Autumn." Museum of Fine Arts of Nancy, France)

Allan said that, unlike many of Manet's early works, "Spring" was intended to hang in the Salon, the French art establishment’s showplace of traditional painting, which had rejected innovators like the Impressionists for decades. That led most of the Impressionists to disdain the Salon. But Allan said Manet was extremely pleased that his late work was accepted there. 

Here's Potts again:

So popular was it that "Spring" became the subject of one of the first color photographs of a work of art. Its acquisition by the Getty brings to Los Angeles the most important — and beautiful! — painting by this artist left in private hands and one of the great masterpieces of late-19th-century art. 

The painting depicts a lovely teenager, dressed in the peak of 1880s fashion in a blue-on-white printed dress; a flowered, fringed hat; and a parasol balanced on her left shoulder. The background features white rhododendrons, barely in blossom.

Mlle. Demarsy stares off to the left, the demure image of a confident young woman at the earliest spring of her adulthood, with an entire creative life before her, already immortalized before the world by one of the century’s greatest artists.

But Manet was himself at the peak of his accomplishments,  just before his sudden demise.
 
"Spring" became one of Manet’s most popular works, deeply appreciated by art lovers young and old and by critics of both the old guard and the avant garde. It was his last picture to hang in the Salon. Manet’s powers would soon decline, and he devoted much of his last few months to watercolors, said Allan.

(Getty director Timothy Potts looks at the Getty's new painting, Manet's "Spring." Getty Museum)

This content is from Southern California Public Radio. View the original story at SCPR.org.

One of 4,000 "The Far Side" panels Gary Larson drew over 14 years. The full collection is now out in paperback.; Credit: Gary Larson

Off-Ramp animation expert Charles Solomon reviews "The Complete Far Side: 1980-1994" by Gary Larson.

It’s hard to believe the last panel of Gary Larson’s wildly popular comic strip “The Far Side” ran 20 years ago: January 1, 1995. The comics page of the LA Times (and many other papers) still feels empty without it.

RELATED: Charles Solomon interviews artists responsible for look of "Big Hero 6"

During its 14-year run, "The Far Side" brought a new style of humor to newspaper comics that was weird, outré and hilarious. The strip became an international phenomenon, appearing in over 1,900 newspapers worldwide. Larson won both the National Cartoonists' Society Reuben Award for Outstanding Cartoonist of the Year and the Best Syndicated Panel Award. An exhibit of original artwork from the strip broke attendance records at natural history museums in San Francisco, Denver and here in L.A. Fans bought tens of millions of "Far Side" books and calendars.

Much of the humor in “The Far Side” derived from Larson's seemingly effortless juxtaposition of the mundane and bizarre. When a bug-housewife declares "I'm leaving you, Charles...and I'm taking the grubs with me," it's the utter normalcy of the scene that makes it so funny. Mrs. Bug wears cats eye glasses, while Mr. Bug reads his newspaper in an easy chair with a doily on the back.

Or, a mummy sits an office waiting room reading a magazine while a secretary says into the intercom, “Mr. Bailey? There’s a gentlemen here who claims an ancestor of your once defiled his crypt, and now you’re the last remaining Bailey and … oh, something about a curse. Should I send him in?”

"The Complete Far Side" contains every strip ever syndicated: more than 4,000 panels. It should probably come with a warning label, "Caution: reading this book may result in hyperventilation from uncontrollable laughter." Except for a few references to Leona Helmsley or other now-forgotten figures, Larson’s humor remains as offbeat and funny as it was when the strips were first printed.

Andrews and McMeel initially released this collection in 2003 in two hardbound volumes that weighed close to 10 pounds apiece. You needed a sturdy table to read them. The three volumes in the paperback re-issue weigh in around three pounds and can be held comfortably in the lap for a while.

Because “The Far Side” ended two decades ago, many people under 30 don’t know it. The reprinted collection offers geezers (35 or older) a chance to give a present that should delight to that impossible-to-shop-for son, daughter, niece or nephew. How often does an older adult get a chance to appear cool at Christmas or Hanuka? 

And if that ingrate kid doesn’t appreciate it, "The Complete Far Side" also makes an excellent self-indulgence.

Charles Solomon lends his animatio expertise to Off-Ramp and Filmweek on Airtalk, and has just been awarded the Annie's (The International Animated Film Society) June Foray Award, "for his significant and benevolent or charitable impact on the art and industry of animation." Congratulations, Charles!

This content is from Southern California Public Radio. View the original story at SCPR.org.

"Sailor Moon" cosplayers at Anime Revloution 2014 in Vancouver, Canada.; Credit: GoToVan/Flickr Creative Commons

Japanese animation — anime — offers very different visions from its American counterparts, and it's extremely popular with college and high school students. They can be extremely difficult for well-meaning parents, uncles and aunts to shop for, so here, in no particular order, are some titles that can transform an adult’s image from clueless doofus to knowing friend. Plus, we have a few suggestions for younger children (who can also be a pain to shop for).

Cardcaptor Sakura: Complete Collection
NIS America: $249.99; 9 discs, Blu-ray, plus book
When cheerful fourth-grader Sakura Kinamoto opens an odd book in her father's study, strange lights fly out. Kerberos, who looks like a plushie of the lion on the book's cover, explains that she's inadvertently released a deck of magical cards. Despite her protests that’s she just an ordinary little girl, Kero insists Sakura must become a Cardcaptor and retrieve them before they work mischief on the world. Many American series talk about empowering girls — in this one, the viewer sees Sakura grow stronger and more confident as she learns to master the magical cards.

Cowboy Bebop: The Complete Series
Funimation: $59.98; Blu-ray, 4 discs
The sci-fi action series "Cowboy Bebop" redefined cool in animation when it debuted in 1998. Twenty-first-century bounty hunter Spike Spiegel is an anti-hero in the tradition of '40s film noir detectives. Spike is a tough guy; a crack shot, an ace pilot and a skilled martial artist. But his cynical exterior conceals a never-healed wound left by the woman he loved and lost. Seventeen years later, "Cowboy Bebop" is so popular that two special editions of the series for holiday gifting have already sold out (!). But it’s available on DVD and Blu-ray.

Dragon Ball Z: Battle of the Gods
Funimation: $34.98; DVD/Blu-ray combo pack; 3 discs
The first new "Dragon Ball Z" animation in 17 years, "Battle of the Gods" (2013) proved how popular the franchise still is, selling over 1 million tickets in just six days in Japan. The filmmakers keep the animation flat, limited and hand-drawn, so "Battle of the Gods" looks like the classic TV series and delivers the mixture of slapstick, friendship and over-the-top battles Dragon Ball fans remember and want to see again — especially guys in their 20s who grew up watching it.

Naruto Shippuden: Road to Ninja: The Movie 6
VIZ: $29.99 DVD/Blu-ray combo; 2 discs
The title hero of the long-running "Naruto" and "Naruto Shippuden" series is a come-from-behind hero whose world centers on magical ninja techniques, outrageous fights, slapstick, friendship and ramen. "The Road to Ninja" incorporates these well-loved elements, but stresses the lonely, compelling side of the title character. Audiences would quickly weary of Naruto if he were just a knuckleheaded prankster. His dedication to overcoming his weaknesses and achieving his goals makes him heroic, as well as comic — and one of the most popular animated characters of the new millennium.

(A scene from "Ranma 1/2," an anime series about a 16-year-old boy who's transformed into a girl whenever he's splashed with water.)

Ranma 1/2: Sets 1, 2, 3 & 4
VIZ: $54.97 each, Blu-ray; $44.82, DVD: 3 discs
Because he once fell into a cursed spring, black-haired high school martial artist Ranma Saotome turns into a buxom, red-haired girl when he’s hit with cold water. (Hot water restores his proper gender.) Ranma and his father Genma are freeloaders in the home of Suon Tendo. To ensure the continuation of the family dojo, the fathers have decided that the loutish Ranma and Suon’s hot-tempered daughter Akane are engaged. "Ranma 1/2"  supplies the slapstick insanity animation can provide in abundance. The filmmakers carefully sneak in just enough grudging affection between Ranma and Akane to keep the series from feeling mean-spirited.

Pokémon: Indigo League (Season 1): Complete Collection
VIZ: $54.98  9 discs          
"Pokémon" is no longer the trend du jour it was 20 years ago, when it swept America. But the games and the animated series remain popular. Although it's product-based and sometimes cloying, "Pokémon" is an agreeable show for elementary school children that stresses friendship, perseverance, fair play and good sportsmanship. These early adventures take the main characters through the first part of the game in its original Red/Blue versions. With his friends Misty and Brock, aspiring master Pokémon trainer Ash Ketchum defeats other trainers, captures wild Pokémon and outwits the inept comic villains of Team Rocket.

Princess Nine Complete Series
Bayview Entertainment: $39.99 DVD
Ryo Hayakawa inherited her late father’s talent as a pitcher, but she works as a waitress in her mother’s tiny cafe. Determined to overcome sexist opposition and create a girls’ baseball team that can compete in the national championships, Ms. Himuro, the head of prestigious Kisaragi High, gives Ryo a scholarship. She must recruit players and build an effective team. Ryo is a very likable character — she’s proud of her abilities, but surprised at where they take her. "Princess Nine" ranks among the better girls’ series of recent years, with characters who are strong, capable individuals but who exhibit human weaknesses.

Short Peace
Sentai Filmworks: $29.98 Blu-ray
For "Short Peace," Katsuhiro Otomo ("Akira") and three other directors made short films in personal styles they felt suited the stories they’d chosen, two of them evoking the look of 19th century woodblock prints. In Shuhei Morita’s Oscar-nominated "Possessions," a wandering tinkerer seeks refuge from a storm in a remote forest shrine. Inside, he  must pacify umbrellas, bowls and other household objects that resent being thrown away after years of devoted service. Otomo’s "Combustible" focuses on childhood sweethearts Owaka and Matsukichi, the son and daughter of wealthy merchants in 18th century Edo (Tokyo). The climactic blaze that brings the star-crossed lovers together — only to separate them forever — is stunningly beautiful.

(Oscar-winning Japanese animator and film director Hayao Miyazaki walks past an advertisement following the release of his film "Ponyo.")

No figure in contemporary animation is more admired than Hayao Miyazaki. Walt Disney Home Entertainment has just released to DVD/Blu-ray 2-disc sets of three of his major films at $26.95 each:

Kiki's Delivery Service
A charming coming-of-age story, "Kiki's Delivery Service" (1989) follows the very human ups and downs of an adolescent witch who must leave her family for a new city where she’ll discover her special talent. Kiki copes believably with tight budgets, self-doubt and the awkward attentions of a flight-obsessed boy. The late comedian Phil Hartman gave his final performance as Gigi, the sardonic black cat who provides a running commentary on Kiki's misadventures.

Princess Mononoke
The ecologically-themed "Princess Mononoke" (1999) was the first of Miyazaki’s features to receive a major theatrical release in the U.S. The problems posed by rampant development and consumerism figure prominently in the film. “If you want to discuss any aspect of the problems we face as humans, you cannot ignore ecology,'' he said. Miyazaki juxtaposes visually and emotionally intense scenes of the characters, with quiet images of clouds, streams and forests. When rain begins to fall, he lingers on a stone that darkens as it absorbs moisture.

(A screenshot from Japanese director and animator Hayao Miyazaki's "Princess Mononoke.")

The Wind Rises
In "The Wind Rises" (2013), Miyazaki carries the viewer through rapturously beautiful fantasies, hard-won pleasures and poignant sorrows in this biopic of Jiro Horikoshi, who designed the A6M Zero Fighter for Mitsubishi during World War II. "The Wind Rises" isn’t focused on speed — Miyazaki concentrates on the magic of flight. Instead of launching the viewers on a CG rollercoaster ride, he enables them to savor the magic of escaping gravity in a way that approaches visual poetry. "The Wind Rises" may be Miyazaki’s last feature, but the director is still clearly at the height of his powers; although premature, it’s a glorious exit.

Death Note: The Complete Series

Light Yagami, the hero of the dark fantasy-adventure "Death Note" (2006) is brilliant, alienated— and murderous. He found the Death Note: the notebook of a Shinigami (god of death). If anyone writes the name of a human in the book, that person dies within minutes. Light launches a vigilante campaign to rid the world of criminals and create his vision of a perfect society. But the unexplained string of deaths attracts the attention of the police, who turn the case over to the secretive master crime solver known only as L. Although it begins slowly, "Death Note" gets better with each installment, as the stakes grow higher in the macabre duel of wits between Light and L.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Rob Marshall is either the bravest director in Hollywood or the most foolhardy. Three of his five theatrical films — the musicals "Chicago," "Nine" and now "Into the Woods" — don't just invite comparison to the eccentric genius of other artists, they insist on it.

Originally a Bob Fosse stage project, "Chicago" was so imbued with Fosse's vitriolic spirit that even in Marshall's more straightforward hands the movie version felt like the missing piece in a triptych with Fosse's "Cabaret" and "All That Jazz."

"Nine" is the musical created from Fellini's masterpiece "8 1/2."

(Marcello Mastroianni in Fellini's "8 1/2")

Odd enough that someone thought Fellini's intimate but epic fugue on his own creative doubts and sexual fantasies should be adapted by others for Broadway; stranger still to re-import the hybrid back to the screen, in the workmanlike form Marshall gave to it.

And now we have "Into the Woods," a film placing Marshall in the long line of moviemakers defeated by Sondheim's difficult musical brilliance and penchant for challenging material. It's distinguished company, reaching back all the way to "A Hard Day's Night" director Richard Lester's re-invention of "A Funny Thing Happened (On the Way to the Forum)" as a kind of psychedelic Keystone Cops movie, and forward to Tim Burton's more adept but still wrong-headed Murnau-meets-Hammer-Horror approach to "Sweeney Todd."

Even director Hal Prince, the principal theatrical collaborator during Sondheim's most fertile and formative period, made an absolute hash of their shared stage success "A Little Night Music" in a film version later disavowed by both men, and mostly remembered for Elizabeth Taylor's chirpy and discernibly flat rendition of "Send in the Clowns."

Liz singing "Send in the Flat Clowns"

It's just possible that the real problem is that Sondheim's self-reflexive and deconstructive impulse (his musicals are almost always and to varying degrees commentaries on the Musical itself) makes his projects unfit for screen adaptation. In movies, we miss the artifice of the proscenium, the sweat on the actor's brow. But if any of Sondheim's late-period projects held out the hope of a successful movie version it was surely "Into the Woods," a droll recombination of the fairytale form's literary DNA into something like Sondheim's masterpiece "Company," set in a realm of magic beanstalks and slippers made of glass.

The characters are straight out of the Disney pantheon (or "Shrek"): Cinderella meets Rapunzel meets Red Riding Hood meets Jack and his Beanstalk, with a generic Wicked Witch, a couple of not so charming Prince Charmings, plus a peasant couple thrown in. But the issues at stake — marital fidelity, raising children, the fear of aging and death — are complicated, and filled with gray tones which Sondheim and librettist James Lapine masterfully etched across the fairytale's Manichean black and white.

What seemed audacious when Sondheim and Lapine conceived it in 1987 ought to fit comfortably into the era of "Sleepy Hollow" and "Maleficent," but in Marshall's hands, it does not. The good news is that though populated by what old school TV shows used to call a Galaxy of Today's Brightest Stars (Anna Kendrick as an appealingly unglamorous Cinderella; Chris Pine as the nymphomaniac Prince who stalks her; Meryl Streep quite moving in the Wicked Witch role made famous on Broadway by Bernadette Peters) this is mostly a very well-sung movie. There have been controversial excisions and revisions (enabled by Lapine, who is Marshall's screenwriter), but as an introduction to one of Sondheim's more beloved scores, "Into the Woods" makes for a solid musical primer.

WATCH: The "Into the Woods" trailer

But though Marshall has taken a lot of flack for daring to cut out characters (most notably the stage production's Narrator, who served as a kind of Greek Chorus in the original) and for softening plot points (Rapunzel died onstage), the big problem is that Marshall isn't nearly ruthless enough in rethinking "Into the Woods" as an honest-to-God movie. There are many moments (Johnny Depp ending a scene with a stagy howl at the Moon that virtually screams "and... fade out!;" the unseen death of a major character) where Marshall embraces the limitations of stagecraft when something bigger and more cinematic is needed, as if afraid to mar the pedigree of Broadway with Hollywood's debased visual stamp.

"Giants in the Sky," Jack's coming-of-age number, where he describes finding manhood in the sexual and physical dangers available above the clouds in the Giant's Castle, is a showstopper onstage, where we're willing to accept rhetoric in place of physical immediacy. Onscreen, it's simply frustrating for a character to suddenly appear and tell us he's just had the adventure of a lifetime, and that it's too bad we missed it.

The Woods themselves — both character and symbol onstage, a kind of living maze representing moral confusion — are lush here and geographically nondescript, like a particularly plush unit set, done up in a generic Lloyd Webber-meets-Disney house style.

Perhaps most unfortunately of all, Marshall seems constitutionally incapable of conveying the pervasive satiric impulse at the heart of the Sondheim/Lapine original, which could have been called "What Happens After Happily Ever After." Without ironic distancing, the film's second half, where the characters betray each other in decidedly contemporary sexual and self-interested terms, plays as non-sequitur.

It's possible to imagine a more idiosyncratic movie director who both understands and embraces the arsenal of cinematic effects available through editing, camera movement and design transforming "Into the Woods" into a rousing cinematic triumph — the young Terry Gilliam comes to mind. But Hollywood doesn't really embrace its daring cranks and visionaries very often, as Gilliam's difficult career demonstrates. Whenever possible, today's studios like to import genius at a safe remove, and then hand it off to a reliable journeyman who won't make waves or piss off the suits. The limitations of that approach are visible in every scene of "Into the Woods," and perhaps they explain its failure best of all. It's one thing not to be up to the task of adapting a work of odd brilliance. It's something else again to not even take it on.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Actors Benedict Cumberbatch and Sophie Hunter arrive at the 26th Annual Palm Springs International Film Festival Film Festival Awards Gala at Palm Springs Convention Center on January 3, 2015 in Palm Springs, California.; Credit: Frazer Harrison/Getty Images

The 26th Annual Palm Springs International Film Festival opened this weekend, distinguished by robust audience turnouts, megawatt celebrity visitations and constant reminders of the unique space PSIFF occupies and the specialized services it provides to Hollywood.

Falling as it does just before Sundance and just after the Golden Globes nominations, Palm Springs is as much a part of the awards season calendar as it is the festival circuit. Big ticket screenings are presented with all the photo op pomp that would greet a major world premiere at, say, the Los Angeles Film Festival, but in many cases this is to build buzz for (or to re-energize) films that are already in theaters.

At Sundance or Tribeca, the suspense is usually about whether the films in competition will get good reviews and/or find distribution. At Palm Springs, especially on opening weekend, it's more about whether you'll run into Brad Pitt in the guest and industry suite at the Renaissance Hotel.

At the PSIFF awards gala, Golden Globe nominee Reese Witherspoon took home the oddly gender specific Chairman's Award for her performance in "Wild."

J.K. Simmons received something called a Spotlight Award for his superb turn as the menacing music instructor in "Whiplash."

David Oyelowo grabbed the "Breakthrough Performance Award (Male)" for depicting Martin Luther King Jr. in "Selma." Brad Pitt's sing-along presentation of Oyelowo's award became the meme for much of the post-event press coverage.

Sing-a-long with Brad Pitt

Rosamund Pike got the "Breakthrough Performance Award (Female)" for "Gone Girl."

Michael Keaton presented the Director of the Year award to his "Birdman" collaborator Alejandro G. Iñárritu.

And the Palm Spring Convention Center stage was home to two young British heartthrobs who are in Oscar contention this year for period biopics about scientific genius: Eddie Redmayne, who grabbed the Desert Palm Achievement Award (Male) for portraying ALS sufferer Stephen Hawking in "The Theory of Everything," and Benedict Cumberbatch, who split glory with the cast of the Alan Turing biography "The Imitation Game" as co-winner of the Ensemble Performance Award.

The Desert Palm Achievement Award (Female) went to Julianne Moore in the Alzheimer's drama "Still Alice."

Every single one of the movies honored is in theaters now, almost all of them in the midst of slowly expanding release patterns as they mount their long slow march toward the Academy Awards.

The generous "one award per movie" policy and the care with which PSIFF avoids alienating celebrity affections by giving out trophies with such blunt and unequivocal titles as "Best Actress" or "Best Actor" mark the PSIFF awards gala as a psuedo-event: a kind of open-armed Hollywood team huddle before things get grim and serious with the Oscar announcements at the end of the month.

Even an Oscar-worthy oddity like Richard Linklater's "Boyhood" managed to find a place in the parade, with Linklater, who directed Shirley MacLaine in the 2010 black comedy "Bernie," presenting the 80-year-old actress with the Sonny Bono Visionary Award, essentially for career achievement.

Meanwhile, the festival's generous supply of indie, studio and foreign movies churned away in various local movie theaters, a really quite remarkable cluster of buzzworthy pictures, almost all of which have played elsewhere, including at Sundance and Toronto and Tribeca, and in many cases at your local multiplex.

This programming approach can be a double-edged sword. Director Ava DuVernay, whose civil rights-era epic "Selma" opened the festival, was unable to stay for her full run of Palm Springs personal appearances because her movie has been out long enough to spark a rather bitter controversy over its depiction of President Lyndon Johnson. DuVernay abandoned a Palm Springs Q and A in order to defend her film on Charlie Rose. 

While some audience members were bitterly disappointed at missing the chance to hear one of this year's golden ones, I'm sure the PSIFF Board of Governors understood completely. This time of year, you have to play the long game, and, in the words of the civil rights anthem, "keep your eyes on the prize."

Off-Ramp contributor R.H. Greene, former editor of Boxoffice Magazine, is in Palm Spring this week to cover the 26th Annual Palm Springs International Film Festival. Look for his missives here, and listen Saturday to Off-Ramp for his report on the festival.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Actors Carla Gugino, Matthew Lillard and Sir Patrick Stewart pose at the "Match" screening during the Palm Springs International Film Festival on January 3, 2015 in Palm Springs, California. ; Credit: Chelsea Lauren/Getty Images for PSIFF

Is there a happier star in Hollywood than Patrick Stewart?

Certainly no one seems to be having more fun than the onetime Star Trek captain and current (and seemingly permanent) X-Man. And why shouldn't Sir Patrick be pleased with himself? He really has got it all: a thriving stage profile in both New York and London, the unconditional love of a vast and loyal fan base, and a film career that oscillates freely between franchise blockbusters and the small, character-driven chamber pieces Stewart so clearly relishes.

"Match" is about as small a movie as Stewart has ever appeared in: a well-intentioned three-character film studded with very funny dialogue courtesy of writer/director Stephen Belber, upon whose play "Match" is based.

Stewart plays an aging gay dance instructor named Tobi Powell, who may or may not have sired a child back in the swinging 60s – an era movies now take to have been 10 years of uninterrupted orgy punctuated by Beatles records and gunshots aimed at the Kennedy brothers.

As the saying goes, "If you can remember the '60s, you weren't there." Stewart's Tobi Powell was vibrantly there at the time, so it's perhaps natural that he can't seem to recall whether or not one of his rare couplings with a female partner might have had some unintended consequences.

Mincing slightly and speaking in an accent that sounds Midwestern by way of Wales, Stewart is an absolute blast to watch. His genuine (and usually underutilized) flair for comedy is roguishly on display, allowing "Match" to shift between pathos and farce with an assurance born more of the performer's bravado than the emotional contours of Belber's somewhat overeager text.

Though allegedly a bit of a shut-in, Tobi is a minor masterpiece of a lost and exuberant art form: the exaggerated star turn. It's unsurprising Frank Langella got a Tony nomination for playing him on Broadway a decade ago, and at least a bit unexpected that Stewart has gone completely unnoticed this awards season, even by the nomination-happy Golden Globes.

Belber's best writing is mostly his comedic stuff. One aria comparing cunnilingus to knitting may just be the best scene of its type since Meg Ryan faked an orgasm in "When Harry Met Sally" a quarter century ago.

Solid and believable supporting turns from Carla Gugino and Matthew Lillard add to the fun until Belber's script bogs down in the third act into the kind of paint-by-numbers epiphany shtick even TV has given up on at this point.

WATCH: The official trailer for "Match," starring Patrick Stewart

Everybody cries. Everybody changes. Everybody yawns.  Or I did anyway.

Still, go see this movie — or better yet, watch it on your phone, since it's shot almost entirely in close up — to see a grand and gracefully aging actor strut his stuff with contagious delight. You will definitely laugh, and, God, does this movie hope you'll also cry.

But if you do weep, don't be surprised if, like Tobi himself, you hate yourself in the morning.

Off-Ramp contributor R. H. Greene is covering the 26th Annual Palm Springs International Film Festival, where he recently saw the new comedy "Match" starring Patrick Stewart. "Match" comes to theaters and video-on-demand on Jan. 14.

This content is from Southern California Public Radio. View the original story at SCPR.org.

At the corner of Glendale and Glenfeliz, Jeff Harmes created an art garden completely from scratch. ; Credit: Alana Rinicella

On the median on the Atwater Village side of the Hyperion bridge, Jeff Harmes built a garden. It's an act he calls "taking nothing and making it into something that everyone can get something out of, that can inspire everyone."

Having lived on the streets for 30 years, Jeff says grew to hate litter. He used to sweep street gutters with a piece of cardboard and remove trash packed into the forks of trees. He thought of them as small acts that would go mostly unnoticed.

On a whim last spring, he started tilling the median — or "the island," as he likes to call it ... although "oasis" is more like it, now. He made rock sculptures from stones he scrounged out of the L.A. River. In celebration of spring, he made a peace sign out of flowers. 

He says he doesn't know much about gardening or landscaping. He learns as he goes and looks to commuters for suggestions. In the absence of running water, he relies on rainfall.

Vibrant succulents sit next to kitschy items like gnomes and plastic flamingos. Intricate formations of seashells and stones contrast starkly against the neatly patted dirt. A young girl even donated her seashell collection for the peace sign. 

Recently, though, a vandal smashed the peace sign and wrecked Jeff's plants, including his squash crop. With help from the neighborhood, Jeff has been able to rebuild the garden. New plants have sprouted and the stonework has been repaired.

Jeff says his new goal with the garden is for people to draw something positive from it. "I want hate to be transferred into something beautiful," he said. Moving forward, he hopes to expand it down the island. 

(Note: This post has been edited. The original called it a "meridian," which is an invisible geographic line. "Median" is correct.)

This content is from Southern California Public Radio. View the original story at SCPR.org.

There are still a couple dozen tickets left for one of the most interestingly-cast performances of H.G. Wells, Orson Welles and Howard Koch's "War of the Worlds." On Saturday, Jan. 17,  generations of Star Trek actors will take on the world's most famous radio show.

The cast — directed by Jim Fall — features: René Auberjonois (“Star Trek: Deep Space Nine”), Michael Dorn (“Star Trek: TNG”), Dean Haglund (“The X-Files”), Walter Koenig ("Star Trek"), Linda Park ("Star Trek: Enterprise"), Jason Ritter (“The Event”), Tim Russ (“Star Trek: Voyager”), Armin Shimerman (“Star Trek: Deep Space Nine”) and Wil Wheaton, playing... Orson Welles.

The performance is a fundraiser for Sci-Fest LA, the new annual science fiction play festival, so tickets aren't cheap — but they're scarce, and this looks like a memorable night.

KPCC and "Off-Ramp" celebrated the 75th anniversary of the broadcast last year by distributing the original 1938 performance, and a new documentary, internationally... introduced by George Takei, another original Trek actor you might have heard of.

War of the Worlds: Sat., Jan. 17,  8 PM; The Acme Theatre, 135 North La Brea Ave. LA CA 90036

This content is from Southern California Public Radio. View the original story at SCPR.org.

An aerial photograph of the San Gabriel Mountains in Southern California.; Credit: Bruce Perry, Department of Geological Sciences, CSU Long Beach; Courtesy National Park Service

A friend who has one of those cabins in the San Gabriels that you have to ride a mule into sent Off-Ramp a note about an event for fans of L.A.'s mountains ... which is pretty much everyone:

"The Sierra Madre Historical Preservation Society and First Water Design present the finest assembly of experts of our magnificent mountains and their impact on our history, culture, and way of life." It's a long list of historians, authors, and others who've spent their lives studying and writing about the mountains.

• John Robinson: "The San Gabriels," "Trails of the Angeles: 100 Hikes in the San Gabriels," "Sierra Madre’s Old Mount Wilson Trail"
• Michele Zack: "Southern California Story: Seeking the Better Life in Sierra Madre," "Altadena: Between Wilderness and City"
• Elizabeth Pomeroy: "John Muir: A Naturalist in Southern California," "San Marino: A Centennial History"
• Nat Read: "Don Benito Wilson: From Mountain Man to Mayor," "Los Angeles 1841 to 1878"
• Michael Patris:  "Mount Lowe Railway"
• Glen Owens: "The Heritage of the Big Santa Anita"
• Paul Rippens: " The Saint Francis Dam"
• Willis Osborne: "A Guide to Mt. Baldy & San Antonio Canyon"
• Christopher Nyerges: "Enter the Forest"
• Norma Rowley: "The Angeles Was Our Home"
• Chris Kasten: cartographer and former manager of Sturtevant Camp

The event takes place on Saturday, Jan. 24, from 1 p.m. to 4 p.m, at Pritchard Hall at the Sierra Madre Congregational Church, 170 West Sierra Madre Blvd., Sierra Madre, CA 91024.

And it's free! Email Jeff Lapides for more info, or call him at 626-695-8177.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Julio Osorio stands in the Valhalla Memorial Park Cemetery near his mother's grave. (Emily Elena Dugdale/KPCC); Credit: Emily Elena Dugdale

The devastating Woolsey fire broke out one year ago. In Malibu, it wreaked havoc not only on hundreds of homeowners but also on the day laborers, housekeepers and gardeners who traveled to the city to work in its affluent neighborhoods.

This content is from Southern California Public Radio. View the original story at SCPR.org.

The L.A. Philharmonic will be the new operator of the John Anson Ford Theatre, the smaller outdoor venue near  the 101 Freeway across from the Hollywood Bowl, under a plan approved by the Los Angeles County Board of Supervisors.  

L.A.  funding sustains the Ford, and the county recently spent $80 million renovating the 1,200  seat amphitheater.  But attendance has been lackluster — and Supervisor Sheila Kuehl hopes the L.A. Philharmonic can change that. 

“The Ford will be able to take advantage of the natural synergies in marketing, capacity-building and program resources that simply haven’t been available to the Ford as an independent institution," she  said.

The move by the L.A. County  blindsided many local artists.  They say the Ford is an important incubator for diverse talent.  They also worry ticket prices will increase.  Prompted by their criticism, the Supervisors will require the Phil to meet with artists and annually review the diversity of the Ford’s shows with county officials.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Donations fill up the entryway to a Goodwill Southern California Donation Center in Pasadena during the first week of 2020.; Credit: Carla Javier/KPCC

Now that the holiday season is winding down, thrift shops run by Goodwill, the Salvation Army, and other organizations are tallying up the annual flood of December donations. 

"It's always been a tradition that our donors donate between Christmas and New Year's ... and the last couple days of the year, they donate even more," Goodwill Southern California director of logistics Tinna Bauer explained. "Some do it for tax purposes, and some ... when they if they receive new items for Christmas, they clean out the old."

This content is from Southern California Public Radio. View the original story at SCPR.org.

A moment in Larry Mantle’s recent conversation with Steve Inskeep has stuck with me.

The NPR Morning Edition co-host was in our Pasadena studios to talk about his latest book, Imperfect Union. Asked how he approaches his day job, Inskeep told a story about the time he dispassionately called a heartbreaking loss for his high school football team. That “straight call” earned praise from a veteran broadcaster he admired. It’s a lesson, he said, that stayed with him.

“I may have a personal opinion; it doesn’t matter,” Inskeep told Mantle. “My job as a journalist is to get the facts right, that are in front of me, and you can do that even if you have a personal opinion.”

Mantle, who has hosted KPCC’s AirTalk for decades, responded: 

“You can’t do this work if you’re wired like an activist. I sort of see my wiring as more how a teacher would be, wired where you’re amassing information. You’re leading people through a story, and the joy is in people coming to their own conclusions.”

“If you’re an activist at all, you’re an activist for the truth,” Inskeep replied. 

Activists for truth. Finding joy in people reaching their own conclusions.

What a compelling description of what our newsroom strives to deliver every day to Southern Californians.

These were my thoughts even before my colleague at NPR came under attack for doing her job.

If you haven't been following the story, Secretary of State Mike Pompeo angrily objected to being questioned about Ukraine during an interview with All Things Considered co-host Mary Louise Kelly. Pompeo didn't care for Kelly's questions on air and the conversation grew even more contentious behind closed doors.

The next day he accused Kelly of lying about the topic of the interview and then reporting a conversation he claimed was off the record. [Including his odd demand she locate Ukraine on unmarked world map.]  Kelly has denied both claims and media outlets have reported on emails between her and Pompeo's staff that back up her assertion she told them the interview would go beyond questions about Iran.

Then, this week, the State Department denied credentials to NPR's Michele Kelemen, who'd been scheduled to cover Pompeo's trip to Europe.

NPR President and CEO John Lansing and Nancy Barnes, who heads news, are rightfully demanding answers.

Why does it matter? Because as Lansing notes having access to people in power is fundamental to "the role of journalism in America.

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I want to take a few minutes to tell you more about how our newsroom works and why you’ll be hearing more from us about our mission and ambition.

Listeners may have noticed a new phrase on our air: “Democracy needs to be heard.” It’s a statement you’ll also start seeing on billboards and bus benches around Los Angeles.

It’s part of the first marketing campaign for our station in many years. The goal is to make more people aware of what we do and why we do it. We also want to grow our audience and our supporters, so we can do even more original journalism.

Southern California Public Radio — home to 89.3 KPCC, LAist Studios, and LAist.com — turns 20 this year. SCPR was born out of a belief that the region would embrace and support a news-focused NPR station serving Southern California with original programming and reporting.

In the two decades since, our members stepped up and helped us build what is now one of the biggest newsrooms in the region. We’ve gone from cramped quarters in the library of Pasadena City College, to a new headquarters in 2010, to today, when we have to scramble for desks for our growing operation.

If you’ve ever heard me on-air during a pledge drive, you’ve heard me talk about how remarkable it is that your support has fueled our ambition and growth. We’re the most listened to NPR station in Southern California. The public media model depends on people donating their hard-earned money because they believe in what we are doing. You don’t have to pay a dime to listen to us on your radio, or stream us on your smart speaker or our app. You’ll never hit a paywall when you visit our website.

Our relationship with you isn’t transactional — that’s one of the ways nonprofit member-supported newsrooms are different. Instead, we make a case that what we do matters, that it’s valuable to you — so valuable that you voluntarily support us (even though you can still listen and read if you don’t). 

That’s a powerful relationship.

It’s why we take community engagement so seriously. That means listening closely to your concerns, answering your questions, meeting you in person, thinking about how our coverage can be both for and about Southern Californians.

In September, we were awarded the first-ever Gather Award for engaged journalism from the Online News Association. In December, we won our second-in-a-row Champion of Curiosity Award for our breaking news coverage of the wildfires.

Our approach to engaged journalism has been transformational for coverage, and we’ve emerged as a clear leader in the industry — sharing what we’ve learned with other newsrooms.

***

We talk a lot about our public-service mission in this newsroom. It permeates how we approach stories. It’s why our reporters, producers, hosts and editors choose to work here. 

And we’ve made this promise to you:

“You deserve great local news — and we need your help to find those stories. We listen to what you’re curious about, what keeps you up at night, and who you want held accountable. We’re inviting you to be part of the conversation.”

We do this work because of you. We do it for you and with you. 

We’ve spent quite a bit of time thinking about how we’re finding and telling stories, and how we can do an even better job of delivering reporting that you won’t find anywhere else. We want our reporters to spend their energy on original stories (and not get stuck echoing information that everyone else is reporting). 

To that end, each reporter has their own individual mission statement to reflect their goals in covering communities and crucial issues. 

The free press is a cornerstone of democracy. That’s why in 1786 Thomas Jefferson wrote:

"Our liberty depends on the freedom of the press, and that cannot be limited without being lost." 

More than 200 years later, Nelson Mandela said: “A critical, independent and investigative press is the lifeblood of any democracy.”

Activists for truth. That means scrutinizing the information we receive from our sources or uncover through our reporting. It means giving you the context you need to consider what is fact and what is spin.

It’s truly an exciting time to work in our newsroom.

We have ambitious plans for coverage of the upcoming California primary and presidential election.

We have so much great work in progress — including three in-depth investigations scheduled to publish in the coming weeks.

Those stories took months to report, involving thousands of public documents, hundreds of miles of travel, and data analysis that no one else has done.

And it was only possible because of your support.  

Thank you.

Megan Garvey, Executive Editor

This content is from Southern California Public Radio. View the original story at SCPR.org.

Homeless advocates erected a line of tents outside the Echo Park office of City Councilman Mitchell O'Farrell Feb. 12, 2020 to pressure him into meeting with them.; Credit: FILE PHOTO

Members of several groups of homeless advocates from across Los Angeles converged on a homeless encampment at the north end of   Echo Park Lake on Feb. 12 to protest the routine weekly litter collection.

A cleanup crew assisted by park rangers and city police officers did a once-through the campsite for miscellaneous trash, followed closely by a chanting and critical crowd of protesters.

The homeless advocates had erected extra tents that morning in protest of what they consider invasive cleanups. They also were trying to get City Councilman Mitchell O'Farrell to agree to meet with them as a group, same as he has met with other local organizations of homeowners and residents.

O'Farrell's spokesman Tony Aranga had insisted staffers were willing to meet with individuals to address their housing and other support needs.

This content is from Southern California Public Radio. View the original story at SCPR.org.

; Credit: Courtesy Randy Newman

Read the full article at LAist

Oscar the Grouch. (Photo: Neilson Barnard/Getty Images); Credit: Neilson Barnard/Getty Images

Read the full article at LAist

Source: Michael Legg 11/12/2024

Nano Nuclear Energy Inc. (NNE:NASDAQ) saw a 69% raise in its target price to US$66 per share from US$39 by The Benchmark Co. in light of the nuclear energy company's robust internal development, reported analyst Michael Legg in a November 7 research note. Nano Nuclear is developing 1–2 megawatt small modular reactors (SMRs).

"Nano Nuclear's balance sheet has been bolstered by capital raises placing over US$65 million (US$65M) on [the] balance sheet, allowing [the company] to continue to execute on its strategy," Legg wrote.

As the company was trading at the time of the report at about US$19.05 per share, the new target price implies a 246% return, noted Legg.

Nano Nuclear remains a Buy.

Strengthened Financial Status

This New York-headquartered company improved its balance sheet to the point of having US$65M in cash and no debt, which allowed Nano Nuclear to keep working its strategy.

"We have lowered our discount rate on our net present value analysis to 20% from 25% to reflect reduced risk," Legg wrote.

Company's Recent Efforts

The analyst reported Nano Nuclear's newest achievements and progress. They include:

1) Advancing development of its ZEUS and ODIN SMRs to the physical test work phase from the design stage and starting initial rig construction. The company also did external design audits on its SMRs.

2) Expanding its team, adding advisers and engineers, to expedite program development. Nano Nuclear appointed John Vonglis as chairman of its Executive Advisory Board for Strategic Initiatives. Vonglis is a former chief financial officer of the U.S. Department of Energy (DOE) and Acting Director of DOE’s Advanced Research Projects Agency-Energy.

The energy company appointed Lieutenant General Terry G. Robling, USMC (Ret.), as chair of its Executive Advisory Board for Federal and Defense Appropriations and Requirements. It appointed Carlos Maidana as head of its Thermal Hydraulics and Space Program and added six engineers to its Nuclear Technology and Engineering team.

3) Acquiring for US$1.71M in August a 14,000-square-foot, two-story building in Oak Ridge, Tenn., to be its Nuclear Technology Center location.

4) Signing a memorandum of understanding with the Rwanda Atomic Energy Board, which could result in deployment of SMRs and microreactors in the African country.

5) Starting its pre-application review with the Nuclear Regulatory Commission (NRC). Nano Nuclear provided the NRC and DOE the status of its microreactor designs and the estimated development timelines, so the NRC may line up the personnel needed to oversee the related licensing. Nano Nuclear is in the process of identifying places for a test bed reactor site.

6) Winning a DOE Gateway for Accelerated Innovation in Nuclear (GAIN) voucher, which provides it with funding for 80% of a winning proposal, the remaining 20% to be covered by Nano Nuclear. This increases its chances of being awarded additional vouchers in the future, purported Legg.

Nuclear Power Demand Grows

Momentum in the clean energy sector, particular nuclear power, being sought out for artificial intelligence data centers, bitcoin mining and electric vehicles, also is benefitting Nano Nuclear, Legg wrote.

A string of recent events exemplify the demand. Amazon.com announced it will buy power from SMRs, and Google partnered with Kairos for nuclear power. Sam Altman and Bill Gates invested in nuclear. President-Elect Donald Trump had noted while campaigning that he would expand nuclear power were he elected.

Further, the U.S. federal government passed the Accelerating Deployment of Versatile, Advanced Nuclear for Clean Energy (ADVANCE) Act, aimed at ramping up development of advanced nuclear technology and preserving existing nuclear power generation.

"We believe this passing is further justification that nuclear is needed to reach climate initiatives, as nuclear is the only large-scale, reliable, emission-free energy source," Legg wrote.

Foreseen Benefits to the Stock

Legg noted that ongoing operational success could positively impact Nano Nuclear's share price.

Other catalysts, he wrote, include increased knowledge about and demand for SMRs, expected to happen as climate change efforts favor emission-free energy and the public accepts safety and use cases.

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1. Doresa Banning wrote this article for Streetwise Reports LLC and provides services to Streetwise Reports as an independent contractor.
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Disclosures for The Benchmark Co., Nano Nuclear Energy Inc., November 7, 2024

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( Companies Mentioned: NNE:NASDAQ, )

Source: Streetwise Reports 11/07/2024

Tectonic Metals Inc. (TSXV: TECT; OTCQB: TETOF; FSE: T15B) announced the successful closing of its private placement, which was significantly oversubscribed, raising CA$5,349,171. This amount surpassed the company's initial target. Initially announced on October 4, 2024, this extension raised an additional CA$1,691,712 through the issuance of 28,195,200 units priced at CA$0.06 per unit. This total combined the funds from the second tranche with those from the initial tranche and previous offering rounds.

Each unit in the placement includes one common share and one-half of a common share purchase warrant, with each full warrant exercisable at CA$0.10 until two years from the offering's close. LIFE units from the offering are freely tradeable, while non-LIFE units are subject to a four-month hold period. In this latest tranche, CA$591,708 was generated through LIFE units, with 9,861,800 common shares and 4,930,900 warrants issued, while HOLD units contributed CA$1,100,004, resulting in the issuance of 18,333,400 common shares and 9,166,700 warrants.

Finder's fees in cash totaling CA$98,143 were paid to Canaccord Genuity Corp., Haywood Securities Inc., Ventum Financial Corp., Roche Securities Ltd., Gerhard Merkel, and Black Oak Ventures Ltd. Additionally, Tectonic issued 1,635,714 non-transferable common share purchase warrants to these finders, each exercisable at CA$0.10 until November 1, 2026. The cumulative finder's fees for both the extended and initial offerings amount to CA$226,029, with 3,767,153 finder's warrants issued. This private placement was approved by the TSX Venture Exchange (TSXV).

Why Gold?

On October 29, Kitco Media's Gary Wagner reported on gold nearing US$2,800, attributing this surge to a mix of "geopolitical conflicts, Federal Reserve interest rate normalization, and strong demand from global central banks." This combination, which Wagner referred to as a "perfect storm," has pushed gold prices up by approximately 35% this year. Emerging market central banks have notably increased their gold reserves as part of a strategic shift away from the U.S. dollar, adding further support to the metal's robust price performance.

Further insights from LiveMint on October 30 revealed a strong performance in the gold sector, with MCX gold rates surging in India. This was partly fueled by cultural factors and a rise in retail demand. Chintan Mehta, CEO of Abans Holdings, emphasized gold's safe-haven appeal, stating, "Gold stands out in times of uncertainty . . . a complete safe-haven unlike silver." Despite potential near-term dips, Mehta suggested that such declines would present valuable buying opportunities amid continued demand for gold.

In a November 4 report, Egon von Greyerz, founder of VON GREYERZ AG, highlighted the consistent historical role of gold as a protective asset. He took particular note of gold's rise in times of financial instability. He observed, "Gold doesn't lie…an ounce of gold in 1923 was worth 87 trillion Marks," underscoring gold's resilience during currency devaluations. He further anticipated that gold's journey was "only starting now," driven by the ongoing devaluation of fiat currencies.

Tectonic's Catalysts

The capital raised through Tectonic's private placement aims to support exploration and development at the company's Flat Gold Project in Alaska, a promising district-scale opportunity for open-pit heap leach gold mining. As outlined in the company's October 2024 investor update, Tectonic has prioritized "economic mine" criteria, highlighting heap leach processing potential, high gold recovery rates, and infrastructure access through on-site airstrips and nearby river barge routes, which reduce logistical costs.

The company's exploration strategy benefits from strong partnerships and technical expertise, particularly its milestone partnership with Doyon Limited, Alaska's largest private landholder, and Crescat Capital, which together hold significant ownership in Tectonic. Additionally, Tectonic's technical team has established a 100% drill success rate at the Chicken Mountain target, identifying zones of gold mineralization and potential higher-grade starter pits. According to Tectonic's October 2024 presentation, the company's "disciplined, upfront de-risking strategy" aims to secure long-term value and sustainable operational progress at the Flat Gold Project.

Analysts Talk Tectonic

*Technical analyst Clive Maund strongly endorsed Tectonic Metals Inc., rating it an "Immediate Strong Buy" on October 4. Maund emphasized the potential for "spectacular gains" as Tectonic's stock showed clear signs of a bullish reversal. He noted a "giant Double Bottom base pattern," indicating a rally from lows, supported by an "exceptionally positive volume pattern" and a strengthening Accumulation line, both bullish signals. [OWNERSHIP_CHART-10225]

Maund also highlighted Tectonic's Flat Project, noting its substantial scale and favorable mining conditions, especially within the Chicken Mountain Intrusion, where all 74 drill holes intersected gold mineralization, hinting at a "big resource." Additionally, Maund remarked on Tectonic's strategic partnerships. These include Doyon Ltd., which holds nearly 10% of the company's stock, underscoring strong local support and shareholder stability. These factors contributed to his confidence in the stock's growth potential, concluding that the current price represented a strong entry point.

Ownership and Share Structure

Institutions hold around 32.3%. Doyon Ltd has 9.9% and Crescat Capital has 22.3%. 15% of Tectonic is held by insiders and other institutions.The rest is retail.

Tectonic has a market cap of US$16.92 Million with 342.61 Million Free Float Shares. Their 52-week range is US$0.045 - 0.17

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Important Disclosures:

1. Tectonic Metals Inc. is a billboard sponsor of Streetwise Reports and pays SWR a monthly sponsorship fee between US$4,000 and US$5,000.
2. As of the date of this article, officers and/or employees of Streetwise Reports LLC (including members of their household) own securities of Tectonic Metals Inc.
3. James Guttman wrote this article for Streetwise Reports LLC and provides services to Streetwise Reports as an employee.
4. This article does not constitute investment advice and is not a solicitation for any investment. Streetwise Reports does not render general or specific investment advice and the information on Streetwise Reports should not be considered a recommendation to buy or sell any security. Each reader is encouraged to consult with his or her personal financial adviser and perform their own comprehensive investment research. By opening this page, each reader accepts and agrees to Streetwise Reports' terms of use and full legal disclaimer. Streetwise Reports does not endorse or recommend the business, products, services or securities of any company.

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* Disclosure for the quote from the Clive Maund article published on October 4, 2024

1. For the quoted article (published on October 4, 2024), the Company has paid Street Smart, an affiliate of Streetwise Reports, US$2,500.
2. Author Certification and Compensation: [Clive Maund of clivemaund.com] is being compensated as an independent contractor by Street Smart, an affiliate of Streetwise Reports, for writing the article quoted. Maund received his UK Technical Analysts’ Diploma in 1989. The recommendations and opinions expressed in the article accurately reflect the personal, independent, and objective views of the author regarding any and all of the designated securities discussed. No part of the compensation received by the author was, is, or will be directly or indirectly related to the specific recommendations or views expressed

Clivemaund.com Disclosures

The quoted article represents the opinion and analysis of Mr. Maund, based on data available to him, at the time of writing. Mr. Maund's opinions are his own, and are not a recommendation or an offer to buy or sell securities. As trading and investing in any financial markets may involve serious risk of loss, Mr. Maund recommends that you consult with a qualified investment advisor, one licensed by appropriate regulatory agencies in your legal jurisdiction and do your own due diligence and research when making any kind of a transaction with financial ramifications. Although a qualified and experienced stock market analyst, Clive Maund is not a Registered Securities Advisor. Therefore Mr. Maund's opinions on the market and stocks cannot be only be construed as a recommendation or solicitation to buy and sell securities.

( Companies Mentioned: TSXV: TECT;OTCQB: TETOF;FSE: T15B, )