Public speaking? Presentation? Nerves? master class coming up!
My advice for dealing with most common worries & fears, & building confidence. Continue reading
In a small church on the West coast of Ireland, a man comes into the confessional and tells of his abused childhood at the hands of a paedophile priest; and that in seven days he’s going to kill his confessor (Brendan Gleeson – Troy, In Bruges), precisely for being a good man.
Gleeson’s Father James Lavelle then has a week in which to settle his affairs; a week in a toxic parish of cynicism, disillusion and despair which tests his own faith to the limit. Continue reading
Aleks Krotoski explores the history of programming languages. The history of computing is dominated by the hardware; the race for speed and power has overshadowed how we’ve devised ways to instruct these machines to do useful tasks.
All this week on BBC Radio 4, Aleks Krotoski tells the story of the languages that have been used to talk to machines.
Krotoski, journalist and presenter of the Guardian Tech Weekly Podcast and soon the seventh series of The Digital Human, looks at computer programming languages in five 15-minute shows. Presented in the style of BBC-Popular-Science-Lite, these are whistle-stop tours for the mildly interested lunchtime listener. Continue reading
I missed Syfy Channel’s quirky TV sci-fi comedy drama the first time out, only to discover in the re-runs that is is more fi- than sci-, more wan-smile than comic and too predictable for drama. Which leaves it trading on quirky, and that just ain’t enough.
Billed as a sort of X-Files-lite (even liter than it’s TV cousin, the dismal Warehouse 13), Eureka‘s premise sees a US Marshall transferred to be sheriff of a North-West American small (i.e. Vancouver) town that covers a top-secret government research facility, Global Dynamics.
As such Eureka is flat-pack sci-fi geekery, an anything-goes episodic fanstasy show with a fish-out-of-water detective surrounded by scientists and hokey Weird Science tropes, all punctuated with a sub-Danny Elfman Desperate Housewives score. Continue reading
Remember that 80’s boy’s own warrior fantasy Highlander, with immortal Scot-tosh swordsman Christopher Lambert fighting down the ages to the mordern day? Now imagine that flipped around, and role-reversed so a fish-out-of-water British nurse from WWII lands in Stevenson’s Kidnapped as told from Katriona’s point of view.
Producer Ronald D. Moore brings twin-period Brigadoon Galactica to the low-rent Starz Network with this dull historical fantasy; part Alice in Wonderland, part Kidnapped, part Vikings – significantly Kilts-and-Boon. Adapted from Diana Gabaldon’s novels, a fine British cast struggles to raise the material much past Fifty Shades of Tartan. Continue reading
It’s true: Google is breaking it’s heavily embedded but failed social networking product Google Plus into separate products – Streams and Photos, new head of Social Bradley Horowitz announced on Google+ earlier this month.
It was telling that Horowitz didn’t specifically mention Google Plus, which pretty well signals the end of Google’s foray. Google Plus was supposed to be a one-stop shop for interactiing across all products and all users. Clearly the vision has changed. Continue reading
A man walks into a bar and tells the daftest life story imaginable. The resulting contrivance of twisty plot devices, unlike 2013’s Looper, is disappointingly loopy.
Writer/producer/directors the Spierig Brothers deliver an understated new take on Heinlein’s classic sci-fi tale of causal loops in time travel, but which can’t escape the Twilight Zone tropes to it’s all too predictable conclusion.
Ethan Hawke (the brilliant Gattaca and not-so Daybreakers) is reliable as ever as the rugged time agent, while newcomer Sarah Snook is an amazing leading lady but possibly the least convincing leading man in cinema history. Continue reading
Of course, ‘nobody’ is a relative term. Google made Plus accounts a mandatory add-on to all it’s Google sign-ons from Gmail to YouTube to Picassa and Drive, which means there’s around 2.2 BILLION Plus accounts belonging to users around the world.
I’ve seen it so you don’t have to: Liam Neeson’s latest addition to his modern day The Searchers franchise proves to be the cynical, money-making, watered-down, lowest-common denominator pop-corn fodder everyone said it would be.
While the first Taken had a certain brutal post-Bourne, post-Ronin style glossing it’s very xenophobic, hunter-killer, mechanical, plot, and relying on Neeson’s ruthless and chilly ex-spy, Taken 3 may be a sequel too far. Although that hasn’t prevented Fast and Slightly Peeved 27… Continue reading