Emiliano Sala audio: Search called off for Cardiff City soccer player’s plane as WhatsApp message surfaces | Sand Blasting Booth

Now, 37 years later, Eichelberger’s dreams may finally be coming true. He and his collaborators are gathering funds and partnerships to set up a permanent research station called the Krafla Magma Testbed, at a site in Iceland where Eichelberger knows for certain that magma lies within reach. He knows it’s there because someone already hit it — by accident.

We already knew that each season intends to tell a different story so the change in tone was to be expected, but wow!!

Yet for all the attention it lavishes on its title song, “Bohemian Rhapsody” doesn’t show much interest in how Freddie and Queen came together to carve out their heavy-metal/pop-echo-chamber wall of sound. The first true Queen single, “Killer Queen,” in 1974, becomes the occasion for a squabble between the band members and the producers of “Top of the Pops” about why the band has to lip-sync their performance of it on television. But even if that really happened, who cares? What we miss is how the band came up with “Killer Queen” in the first place — the merging of Mercury’s Tin Pan Alley jauntiness and Brian May’s guitar-god power, backed by the insane multi-tracking of Mercury’s voice into an infinitely mirrored chorus. That’s the invention of the Queen sound, and it’s barely an afterthought in the movie.

“It started as a pinpoint,” said Mr. Marcuson, the former engineering society president, “and maybe in one second it looked like a whole patch down there.” Very rapidly, he said, “the dam fails and the tailings pour out and the dam goes to hell in a matter of seconds. And the dam just crumbles up.”

That episode was actually… pretty good, I’d say. In fact, I’d almost go as far as to say that it was probably the show’s one episode that I have enjoyed most thoroughly so far. It’s starting to feel more and more like DISCO just completely changed course after S1, very much akin to the changes between TNG’s first and second seasons (even though in TNG, as we all know, S2 was still the “not quite there yet”-season) – this episode even featured an extended TNG-style briefing scene, wouldcha believe it! And YET (hey, what else would you expect?) some of the earlier weaknesses still keep popping up – and again, they’re really more “conceptual” in nature, rather than just ONE writer’s or producer’s fault. For example, once again, the episode was just a fair bit too short! The A- and B-plots were at the same time clearly separate but still so intermingled (which in itself is definitely not a bad thing) that the entire episode lacked that certain bit of focus – I for one would’ve just loved to see a little more of New Eden and the people living there, which doesn’t mean that the Tilly-subplot wasn’t interesting (which, IMO, sets it apart from “Si Vis Pacem, Para Bellum”, the example named in the review – since that one had three concurrent plot threads going and all of them were merely brushed, so that there was no real way to get invested in any particular one)! Then there was the expository monologue delivered by the lady in New Eden (I can’t remember whether she was named, so I’m gonna call her Mrs. Exposition), which felt way too expansive and heavy-handed – are we supposed to believe that people from “the North” live in such isolation that they know literally nothing about the history of (presumably) the entire planet’s human society? Thirdly, I couldn’t quite figure out whether the inclusion of Owosekun in the landing party was just a wasted opportunity or actually meant as a bit of a joke, since Burnham suggests bringing her along on the grounds that she had presumably grown up within a religious community, but a minute after they beam down it turns out she had no religious upbringing at all. And lastly there was this instance of total implausibility that really ground my gears: So, as I understood, Discovery or the Discovery’s tractor beams did not have enough power to pull away that radioactive debris, but it was enough to pull that super-dense asteroid they carried around in their shuttle bay, that had so much mass that it could alter the course of the debris thanks to its gravitational pull? And without any sort of “anti-gravity-field” (which was presumably how they managed to transport it in the first place) sorrounding it? Nothing against a bit of tech-magic – it’s science-FICTION after all – but it really needs to adhere to its own in-universe laws, otherwise it becomes just the laziest of plot-devices. Returning to the point about conceptual problems though, there’s also a distinct conceptual improvement in S2. As writers and actors alike have already pointed out, the red bursts (or red angels) are a simple, but really effective vehicle to have the story evolve in a rather episodic fashion, but not forget about the big picture. And there was just a lot else to love in that episode, like the little bits of characterisation that we were fed on the fly and that led to some neat character interaction, like Burnham being a rather strict atheist thanks to her Vulcanian upbringing and Pike being more on the agnostic side (with a sci-fi spin on it, basically: “I know there’s stuff I can’t understand, but maybe highly advanced aliens can”). I know some of the faith vs. science stuff was very much on-the-nose, but whenever those issues came up during character interaction (rather than exposition, that is) it was really well done! The Saru/Tilly-interaction on the other hand struck a less cerebral and much more heartwarming note. And even though their closeness came a little bit out of the blue, the characters’ motivations were very clear and Saru came across as the experienced, considerate and competent officer he was always supposed to be! Tilly herself on the other hand … is starting to get a bit too “Wesley”, even though she got a little damper to her ambition this time around. Oh and I also quite liked how the “Mae”-character became more mysterious everytime she showed up – albeit not entirely unpredictably – until you just KNEW that something wasn’t quite right (or quite human, for that matter) about her , starting with her having that childlike voice and ultimately doing little else besides reflecting Tilly’s thoughts right back at her – it was… Read more »

In “Die Fernweh Oper” you will visit a perpetual opera performed by a star in the form of a 50 ft tall opera singer named Asteria, who sings especially for you. Just as with the stars you see at night, she has already died light years ago. (World Premiere)

Now, when are you going to figure out a hypothetical set of observations that you would accept as “observational evidence”?

In July 1969, flooding left the intersection of Glenside Drive and Staples Mill Road in Henrico County underwater.

What happens when an 18-year-old who thought he had nothing more to lose, becomes embroiled in fake news on Facebook? (World Premiere)

Anyone seeking refuge from the storm in Chicago can find a warming center on the city’s data portal. Warming centers also are available in suburban Cook County that can be found on the county’s homeland security department’s website.

I liked the themes they touched on. I liked the Prime Directive debate where I thought Pike was on the wrong side of. Tilly was still irritating as ever. Wish they gave her revelations to Reno. But she’s permanently here so the audience is forced to put up with her. The B story I found to be lacking, to be honest. A lot of it probably could be traced to the Tilly-centric nature of it. But I found the goings on on the planet surface far more interesting.

Ramanathan & Collins 1991: ”It would take more than an order-of-magnitude increase in atmospheric CO₂ to increase the maximum SST by a few degrees, in spite of a significant warming outside the equatorial regions. … the interaction between SSt and solar radiation [the increased reflection by clouds, arresting further warming] at the ocean surface is an important negative feedback…”