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Wednesday, September 25, 2013

Derek Hough

Emmy Awards 2013: Derek Hough, Dean Norris have dance-off at AMC after-party

The dancing pro and AMC's 'Breaking Bad' star came to dance, dance, dance post their Emmy wins Sunday night.

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JOHN SHEARER/JOHN SHEARER/INVISION/AP

Dean Norris, right, and Derek Hough partake in an epic dance party at the AMC after party Sunday.

Nothing gets a party going like a dance-off!
"Dancing with the Stars" choreographer Derek Hough certainly had something to celebrate Sunday night after taking home the Emmy Award for Outstanding Choreography, and who better to party with than another fellow trophy winner?
Dance, dance, dance! Dean Norris, and Derek Hough break it down at the AMC post-Emmy party.

JOHN SHEARER/JOHN SHEARER/INVISION/AP

Dance, dance, dance! Dean Norris, and Derek Hough break it down at the AMC post-Emmy party.

Hough and "Breaking Bad's" Dean Norris partook in a hilarious dance battle at the AMC post-Emmy festivities.
Dean Norris, right, and Derek Hough sure know how to party; the "Breaking Bad" actor challenged the dancing pro to a friendly competition.

JOHN SHEARER/JOHN SHEARER/INVISION/AP

Dean Norris, right, and Derek Hough sure know how to party; the "Breaking Bad" actor challenged the dancing pro to a friendly competition.

"Derek was twirling around while Dean did snake moves as they went back and forth to Stealer Wheel's hit, ‘Stuck in the Middle With You,’” an insider told Us Weekly of the friendly competition.
Dean Norris, right, and Derek Hough danced the night away to several jams into the wee hours of the night Sunday.

JOHN SHEARER/JOHN SHEARER/INVISION/AP

Dean Norris, right, and Derek Hough danced the night away to several jams into the wee hours of the night Sunday.

"Guests circled the dance floor and sung along while cheering and Derek and Dean began taking guest's hands and bringing them closer to join in. They were having a blast. Everyone was cheering and clapping along to the beat."
The two were surrounded by their celebrity pals like, Norris' costar Aaron Paul and his wife Lauren Parsekian as well as Hough's sister, Julianne.
The crowd cheered on Dean Norris and Derek Hough as the two battled it out on the dance floor.

JOHN SHEARER/INVISION FOR AMC

The crowd cheered on Dean Norris and Derek Hough as the two battled it out on the dance floor.

"Dean was totally rocking out, he had sweat dropping down his cheeks! He and Derek were goofing off and loving the attention," the eyewitness added.
The excitement began to die down around 1 a.m. but the two decided to have one last hooray as they went back for round two around 1:30 a.m. to boogie down to Jackson Five's "ABC 123" and "We Are the Champions" by Queen.
Norris' AMC show "Breaking Bad" was a top winner at the awards, snagging the Emmy for Outstanding Drama Series.


Read more: http://www.nydailynews.com/entertainment/tv-movies/emmy-awards-2013-derek-hough-dean-norris-dance-off-amc-party-article-1.1465064#ixzz2fu2egIwI

The Goldbergs


The Goldbergs: TV Review

he Bottom Line

The Goldbergs are a normal, constantly yelling family with a smothering mother, a temperamental father and their youngest child, who uses a video camera to record all the familial moments of importance in the 1980s.
The Goldbergs Key Art - P 2013

BC's coming-of-age comedy set in the 1980s is one of the rare freshman comedies to deliver laughs.

This fall season will not be a banner year for sitcoms, but one of the new offerings that stands out from the pack is ABC's coming-of-age series The Goldbergs, which is fueled partly by nostalgia, partly by the great Jeff Garlin's constant yelling and partly by some outstanding writing. A strong cast doesn't hurt, either.
ABC, which seems to throw a lot of stuff against the wall each fall, has something special here. Adam Goldberg has mined some of his personal memories, affixed a strong allegiance to all things '80s (though you don't have to know the era astutely to get all the jokes) and created a family that you not only want to laugh at and with but, more importantly, root for. The Goldbergs are a working-class family just trying to make it through the day without getting any of their kids killed. There's a lot of love -- as much love as yelling, it should be noted, though it might be less obvious -- and plenty of stories for each kid and both parents.
In short, a perfect series to tuck behind Modern Family on Wednesdays. Except that The Goldbergs airs tonight, after the high-octane, highly anticipated premiere of Agents of SHIELD, which is, in fairness, probably not aimed at the same audience. But it appears that ABC believes The Goldbergs is strong enough to anchor a solid hour of comedy, as it sits in front of Trophy Wifewhich features another dysfunctional family (with less yelling but enough quirk to see a possible connection). The SHIELD crowd may not stick around for the next hour (which then leads in to another drama), but in the era of the all-dominant DVR, Tuesdays from 9 to 10 looks pretty solid at ABC.
While a comfy slot behind Modern Family would have been nice, you can see that ABC perhaps thinks that The Goldbergs has a lot of the elements that made Modern Family popular. It's kind of like a more modern and more Jewish Wonder Years with a ton of funny coming-of-age moments mixed with a dose of sentimentality (leavened by Garlin's expressively wondrous yelling). Patton Oswalt does the voiceover narration. The pilot notes that in the 1980s, it was a different time: "There were no peanut allergies or parenting blogs. Just a whole lot of crazy."
The series kicks off in 1985. You've got mother Beverly (Wendi McLendon-Covey) working just the right mix of overbearing love, guilt and the kind of common-sense approach to money that ends up pretty much embarrassing everybody. There's also Murray (Garlin), who would rather not be bothered, but if he has to step in and parent, he's going to be all in and it's going to be his way or no way. The kids are set up for sitcom-ready plotlines. There's Erica (Hayley Orrantia), who at 17 is the oldest. And the only girl. There's Barry (Troy Gentile), who is combative and defensive as the middle child and seeks nothing more than to have his own car to put some distance between him and the family. Lastly, there's 11-year-old Adam (Sean Giambrone), a future film director who documents his family with enough video coverage to rival a modern-day reality series.
The pilot revolves around Barry possibly getting a car (but of course it's snatched away because Erica is the oldest). But Pops (George Segal) has a plan to help out Barry with some wheels. There's nothing groundbreaking here -- you can predict that Beverly is going to have none of this car business and that Murray will be something of a disaster as a driver's ed father. ("Do not hit the kid in the back [seat] -- that is way too advanced!") But even as the familiar contrivances play out, the jokes -- be they verbal or visual -- are always there to nail the scene. There's a running gag of trying to decipher, with subtitles, all the love Murray means to convey to his kids when it just sounds like anger and yelling. There's the stray quick-strike that's deadly: "Who runs like that?" Murray yells about one of his kids. And there are the endearing moments as well, but they're less sugary than warm: "You know what? I don't say it all the time. But you're not a total moron."
Between McLendon-Covey and Garlin nailing the parents, everything else is really gravy. As the narrator, Oswalt gets all the funny lines that speak mostly to nostalgia and the humor that comes from the way we were, how goofy the era looks in retrospect and all the love that seemed a little bit like torture at the time. 
Here's to The Goldbergs not only bringing back the '80s but adding some much-needed laughter to the fall lineup.

NCIS


Exclusive: Cote de Pablo Talks About Her Decision to Leave NCIS

Cote de Pablo


[Spoiler Alert: Don't read this story if you don't want to know Ziva's fate!]
NCIS fans have long memories. They fondly recall the scene back in Season 4 when Ziva David, then still a visiting Mossad agent, announced to Tony DiNozzo, "I will kill you 18 different ways with this paper clip." So when the woman who so engagingly played Ziva for eight seasons, Cote de Pablo, announced she was leaving the series, grief-stricken devotees sent paper clips to CBS in protest. But even that couldn't keep Ziva attached.
"On a September day in New York, I'm looking out my balcony, and I still miss my family," says de Pablo, thinking about not being on the Los Angeles set in the fall for the first time since 2005. "But they're with me all the time, every day, and that won't change." De Pablo is speaking with TV Guide Magazineexclusively after her abrupt decision not to renew her contract just prior to the start of production on Season 11 (which kicks off Tuesday at 8/7c on CBS).
As for the fan outpouring, she says, "I was incredibly moved by the blind support people had without ever getting reasons as to why I left. People trusted that what I was doing was what I needed to do, and that's unconditional love from people who don't even know me. That's been the most beautiful thing out of this process."
The love de Pablo felt from fans is being returned in a farewell hour that airs Oct. 1 and is easily the most anticipated episode in the history of TV's top-rated drama. It will finally provide some clarity to the long-simmering feelings between Ziva and Michael Weatherly's Tony DiNozzo. "As far as the 'Tiva' fans, they'll get a resolution they've awaited for years," she says. "There is a level of confession. And if it takes a big change like this to stir things up, it's all for the better. I'm a fan of the show!"
Such mixed feelings may only deepen the mystery of why de Pablo left. Clearly, there was a last-minute impasse no one wants to discuss, beyond the network's insistence that money wasn't a factor. "As far as my decision to leave, that's a personal thing, and I'd rather leave it at that," she says. "The idea of leaving was not something I toyed around with for a long time. It was an overwhelmingly hard thing — at times terrifying."
She has no grand scheme for doing a sitcom or movies. "Leaving NCIS was not planned, so there is no plan. If I were panicking now, it would defeat the purpose. I need to get really excited about something, because for eight years I was really excited about this character. I don't want to start anything unless it's like that."
Bittersweet is the word she inevitably uses to describe how it felt to wrap up her storyline at the -beginning of Season 11. "Did I want to leave under those circumstances? That's another story," she says. "But I'm not of the belief that you just take off and leave fans hanging. A lot of people don't get the privilege of going back to a set and being able to say goodbye to people. I left under my terms, and that was wonderful."
The final shoot was "a beautiful day — a quiet, intimate set," she says. "I'm horrible at saying goodbyes, because I've been saying goodbyes ever since I left my country [Chile] when I was 10, so even though I did not utter the word goodbye, I was able to hug them and let them know how much I loved them. And that's all that matters."
"We wanted to give her the most graceful, emotional payoff we could," says exec producer Gary Glasberg. "It was a pretty magical moment. Cote took it and ran with it, and the emotion you'll see on screen is very real."
Ziva's most intimate moments were with Tony, and de Pablo enthuses over "getting to close things off with my partner in crime, Michael. My first scene ever in the bullpen was with Michael, and my goodbye scene was with Michael. I feel like that was a beautiful way of ending — for now, certainly — a beautiful chapter between these two."
Did she say "for now"? Although you get the feeling any reprise would be years in the future, de Pablo has a surprisingly hopeful, never-say-never answer when asked if she could ever return for a cameo or something bigger. "The greatest thing about this last episode is that Ziva doesn't die," she says. "As long as a character doesn't die, the character can always come back. Not that it would actually matter, because we bring back characters from the dead all the time on NCIS!"
Notice her use of the present tense and the word we. De Pablo may be almost as reluctant to let go of Ziva as all those paper-clip wielders are.
(Full disclosure: TVGuide.com is owned by CBS.)

Dumb and Dumber 2


Jeff Daniels: 'Dumb and Dumber 2' will make toilet scene look lame

Jeff Daniels teased a few details about the "Dumb and Dumber" sequel after winning an Emmy on Sunday, Sept. 22.
The 58-year-old actor took home an Emmy for his work on "The Newsroom" and revealed while talking to the press backstage after his big win that he was "gonna party 'til dawn and then I'm gonna get on a plane and go to Atlanta and start shooting 'Dumb and Dumber 2.'"
"The intellectual free-fall from Will McAvoy to Harry Dunne ... imagine if you will," he joked, talking about his intelligent "Newsroom" character and his not-so-smart "Dumb and Dumber" character. Watch a video of his backstage interview in the video above.
He later added about shooting the film, "There are some things we're going to do in 'Dumb and Dumber 2' that make the toilet scene look lame ... pales in comparison. I can't divulge what, just that they've topped it."
Peter Farrelly, who wrote and directed the original film with his brother Bobby Farrelly, tweeted on the brothers' shared Twitter account on Monday, Sept. 23, "The first shot of #DumbTo is officially in the can! P."
The original film was released in 1994 and showed Lloyd (Jim Carrey) and best friend Harry (Daniels) going off on a cross-country adventure to deliver a suitcase and win the heart of Mary Swanson (played by Carrey's ex-wife Lauren Holly). The two grown men lacked any form of common sense and get mixed up in a kidnapping plot.

Building a World Cup Stadium in the Amazon


Building a World Cup Stadium in the Amazon

World Cup Stadium in the Amazon: Despite delays, cost increases and design changes, construction of Arena Amazonia in Manaus,
MANAUS, Brazil — The most challenging aspect of building a World Cup soccer stadium in the middle of the Amazon is debatable. Some might say it is figuring out how to get oversize cranes and hundreds of tons of stainless steel and concrete into a city surrounded by a rain forest that stretches for about 2.1 million square miles. Others might mention the need to put most of those materials together before the rainy season floods the entire construction site. Then, of course, there are those who might point to the need to install the special chairs.
Yes, the chairs. It may seem like a small concern — at least compared with the whole everything-being-flooded possibility — but one of the less obvious issues that comes with building a stadium in the jungle is what the searing equatorial sunlight here can do to plastic.
The seats are supposed to be varying shades of yellow and orange. “But if we don’t use the right kind of material,” said Miguel Capobiango Neto, the coordinator of the construction project, “then the sun will melt the paint away. The seats will just turn white.”
Neto sighed. “The Brazilian press compares us a lot to other stadium constructions,” he said through an interpreter. “There is no comparison. There is nothing like this.”
The World Cup has never staged games in a rain forest, much less in the middle of the Amazon. But that is the plan for next summer, an ambition that invites plenty of hurdles. What other major stadium project had to drain an “unwelcome tributary of the French River,” as Neto put it, that ran through its foundation? What other builder has to spend multiple days on each joint that is soldered because the stifling humidity can cause steel to buckle? What other job has to accommodate one of the most ecologically sensitive regions in the world?
Eric Gamboa, an official with the local organizing committee, said the best comparison for the construction of the Arena Amazonia may be to that of the opera house that opened here in 1896.
That construction took place over about 15 years and was financed by the government during a time of booming growth in the rubber industry. The finished product, the Teatro Amazonas, is a gorgeous Renaissance design that, in many ways, looks out of place in its location not far from the city’s more rugged port area.
The stadium project has a similar opulence, and it, too, relies on imported supplies because of a distinct lack of truck-accessible roads to Manaus. Most materials for the stadium have been sent from the port of Aveiro, in Portugal. Three ships were filled with steel and a fourth brought the membrane, or sheath, that serves as the stadium’s partial roof. Each of the ships needed roughly 17 to 20 days to cross the Atlantic Ocean, then navigate the Amazon River and its tributaries to arrive in Manaus.
Given that reality, a concrete prefabrication facility was built next to the stadium site in an attempt to speed construction. Despite having as many as 1,400 employees, the project has been bogged down by the delays, cost increases and design changes that come with seemingly every significant piece of Brazilian infrastructure. In a polite but pointed statement, Hubert Nienhoff, the chief executive of gmp-Architekten, the German firm that designed the stadium, said that although the “precise planning and implementation that Germans are credited with” might be respected in Brazil, they are “not always compatible with the existing pragmatic day-to-day business” in the country.
His point was unmistakable. Left unsaid was this: The progress in Manaus was so sluggish that at one point late last year, Jérôme Valcke, the secretary general of soccer’s governing body, FIFA, said it was possible that games would not be played in the city if the stadium’s deadlines were not met.
That threat, according to local officials, prompted a construction surge, and with it a ballooning budget. The stadium was supposed to cost about 500 million reais (about $227 million) and be completed by July; now it will cost at least 600 million reais and is scheduled to be finished by December, Neto said. As of the end of August, about 78 percent of the stadium was complete, according to FIFA, making the target date at least theoretically feasible.
“The rainy season starts at the end of November,” Neto said. “Because of that, we must really rush to have the ceiling ready by then.”

Ted Cruz


The Ted Cruz Show

Re “Ted Cruz’s Flinty Path” (column, Sept. 24):
Frank Bruni is not old enough to remember watching television as Senator Joseph R. McCarthy went about doing the Devil’s business.
For those of us who are old, Joseph McCarthy has clearly been reincarnated in the body and spirit of Ted Cruz, the junior Republican senator from Texas: same appearance (brooding, ominous), same curl of the lip, same shameless innuendoes and lies, same gigantic ego.
A little late perhaps, but Senator McCarthy’s wagon was eventually fixed by popular demand. I hope that we won’t have to wait much longer for Senator Cruz to follow suit.
ANNE BERNAYS
Cambridge, Mass., Sept. 24, 2013
To the Editor:
Ted Cruz isn’t nice. Ted Cruz is conceited. Ted Cruz is irreverent.  Blah blah.
Too bad there isn’t a progressive Ted Cruz in Congress to shake up tired Democrats and an inhibited president and drag them to aggressive action against Republican economic Darwinism and toward an enthusiastic promotion of big, constructive public spending in the public interest.
MICHAEL M. OELBAUM
New York, Sept. 24, 2013

FIFA 14


FIFA Soccer 14 Leaves PES 2014 Standing Still

EA Sports
FIFA Soccer 14

My original idea for this column was to address whether a professional sports simulation game could survive without extensive player, team and league licenses, and I was timing it for the Tuesday release of bothFIFA Soccer 14 and Pro Evolution Soccer 2014.
But then, I played both games, and it was readily apparent the answer was a clear “no.”
I’m not certain if game franchises die with a whimper or a bang, but when I compare FIFA 14 and PES 2014, which both go on sale Tuesday, they’re titles clearly headed in opposite directions. FIFA, from EA Sports, is better than last year’s already-solid game in some very clear and more-subtle ways. Konami’s PES 2014 not only isn’t as good as last year’s game. It’s not nearly as fun, takes several steps backward in playability and appearance and, in my view, is running on fumes.
The comparison between these two games is inevitable, because Konami and EA put them on a crash course, launching on the same day, at the same $60 price for the same platforms. It’s very hard to play them both on the same days and treat the experiences as standalone.
PES 2014
Konami is this year touting Kojima Productions’ “renowned Fox Engine” at the core of PES 2014, along with numerous other advances, including a focus on true ball motion, the introduction of collision physics, the influence of virtual emotion on players and gameplay momentum, better player and stadium animations, improved artificial intelligence and teamplay.
But before I could really try out or appreciate the new features on my Xbox 360, I was struck by its limited options, relatively small number of teams and leagues and clunkily operated menus that looked and felt more like something you’d use with a mouse on your PC than a console. PES 14 is also available for PCs, as well as for the Konami used pre-launch communications and marketing to highlight its licensing of tournaments, not players, and featured a stadium on the PES 2014 game box, after last year putting Real Madrid star Cristiano Ronaldo on the cover.
Indeed, Konami has the rights to the UEFA Champions League, Europa League and Super Cup, along with several other tournaments from other regions. It also has licenses for a not-insignificant number of club teams in various European and South American leagues and a handful of national teams.
But you can’t dig deep into the Swiss or Saudi Arabian leagues, you can’t find obscure teams from South Africa or play as the Cote d’Ivoire national team. This is not a long list, and even some of the licenses announced for top leagues in Brazil, Chile and Argentina, are matched in FIFA 14.
Stadium graphics were disappointingly unsharp and more 2D than 3D. Close-up animations were strong and comparable to FIFA 14, but their movement was herky-jerky.
I had major issues with the on-field graphics. Animations were cartoonish, details like grass texture and shading were, to my eyes, inferior to last year’s PES version. And default settings had a bewildering array of names, indicators and radar blinking on and off all over the screen making me a tad nauseous and sometimes unable to see what was going on, especially toward the bottom of the screen.
I switched off the power indicator and most of the other distractions, but still didn’t enjoy having white names over every player and occasional white-flaring directional arrows when I made precision moves.
I’m not sure what happened to in-game realism, but it seems to have marched backwards this year in PES 2014. I didn’t notice any snow or rain, and uniforms seemed as bright and shiny at the end of the game as they were at the beginning.
Paradoxically, while players looked less realistic at a distance, they played more like actual soccer players than last year. I did feel the physics of collisions, and I also was able to pull off more one-on-one moves as an attacker than in earlier iterations of PES. The AI seems reasonable. I noticed some fairly realistic moves by computer-controlled players as they missed a slide tackle or banged into me to strip the ball.
Despite introduction of “TrueBall Tech,” I still found passes far too “sticky,” as in hardly ever flubbed by any player. I also found the momentum shifts in the game’s “Heart” function too subtle to really notice in the first couple days of gameplay. The ball’s speed and trajectory were more-realistic than last year, but still more as if I were playing an arcade game than a true simulation.
PES has long been pretty “DIY,” something appreciated by certain players. It allows for the import of stats and teams, stadium edits and creation of your own soundtrack. But this year, PES’s limited licenses, spartan soundtrack and patchy, anodyne in-game commentary have left the game feeling bare and chintzy next to a bold and brassy FIFA 14.  
There was also a strong chance to help organize that DIY crowd into a unified online community, but Konami has only inched forward slightly in the social media aspects of PES 2014. Last year, league players could connect to a stats board via a Facebook app.
This year, Konami is promising new, mobile app, which wasn’t yet available for download at the time of this writing. It promises the ability, via patches, to share stats with others who aren’t on their consoles or computers. But it looks to be largely done via a clunky QR code.
FIFA Soccer 14
None of this is to say FIFA 14 is perfect, but it’s definitely an improvement over last year’s game. While PES is taking baby steps with physics this year, FIFA is stepping them up. Players look and play more like their real-world counterparts.
It’s little things, like players turning slightly sideways, as they stick their foot out to try a ball-stripping tackle, that make this year’s game better, or the acrobatic half-stumble, half-turn and recovery by a defender in the box.
Player acceleration is more real this year. You can’t go from zero-to-full-speed with the pull of a sprint trigger and flick of a stick. As on the actual pitch, your player needs to get up a head of steam before hitting his peak speed. Likewise, it’s harder to stop on a dime if you’ve been sprinting. And when you’re facing up to a defender or shielding the ball, it’s easier to make precision cuts and other moves than last year. There’s less of a lag or wasted motion that results in getting the ball stripped away from you. First touches, both good and bad, remain incredibly realistic, and signature moves are still pretty easy to pull off.
Shooting is also different than before. I’m not 100% sure if it’s more-realistic, but different players shoot differently. There are certainly more animations available for shooters, allowing for chip shots off a short stride and off-balance shots. In previous versions of FIFA, it seemed all you could do was control the power or finesse of your shot, i.e. how hard or fast the ball moved. This year, your shots depend as much on the player’s positioning, balance and skill as the ball.
And again, I’m not sure if I’m wowed by sound-effects or physics, but there’s something immensely realistic and satisfying when you hear the thunk of a shoed foot striking a ball. EA says it has improved shot physics to offer more-accurate trajectories, and I found that to be the case. The ball doesn’t always rubber-band off your foot.
Strength also matters greatly in FIFA 14, and that is a welcome injection to the game. A strong and determined defender, like Bayern’s Dante, can fend off a wily Lionel Messi or mobile Neymar without necessarily drawing a whistle for a foul, as often happened last year. The ability to use brawn adds depth and realism to players on both sides of the ball.
Graphics are again excellent. On the audio front, the soundtrack is impressive and enjoyable, featuring multiple big-name tracks. In the booth, Jeff Stelling joins Martin Tyler and Alan Smith on the English-announcing crew for pre-game and stadium announcements. That adds some more interesting bits of dialogue to the game, but the play-by-play and color patter is otherwise similar to 2013.
Licensing clearly sets EA apart from the few rivals it hasn’t blown away in the soccer and other sports simulation arenas. The company’s gigantic war chest has bought it 30 licensed leagues, over 600 clubs and 16,000 recognizable, named players for FIFA 14.
But its the ways EA makes use of those licensed teams, players and leagues that also sets it apart. There are always single player and online multiplayer modes. But co-op seasons mode, career mode, Match Day Online, which pulls actual, real-world stats, trends and injuries into games you play, add depth to FIFA 14. Ultimate Team again promises to be a monster for EA, which wisely made the web app available well ahead of Tuesday’s launch.
I know this, because my son was busy opening card packs on his computer, selling players and assembling an all-German team before the game was even available for our console. I got used to hearing things like, “wow, I got (Edinson) Cavani,” and “I have 70,000 bucks for Ultimate Team,” in the last several days. Your levels and points from FIFA 13 all follow you to the new game.
As with last year, EA has taken the online and community aspects of FIFA very seriously, offering web and mobile apps to let players track stats, view results and leaderboards and buy or sell players without having to turn on their consoles.
And with an eye toward the impending launch of the next-generation Xbox One in November, Ultimate Team rosters, progress, in-game items and coins can be accessed from either console. Ditto for your accumulated club level, experience points, season progress and leader boards. FIFA 14 will also come out for the PlayStation 4 in November, and versions of the game will be available Tuesday for the Nintendo Wii and Windows Pcs.
EA’s FIFA has long been a giant, outselling PES by many multiples, and that trend will likely continue this year. At some point, I wonder whether EA’s spending on soccer licensing, which seems to be returning it a bounty in unit sales, will drive out the competition, as has happened in other sports simulations.
EA says sales of last year’s FIFA 13 topped 14.5 million units, while Konami’s numbers are harder to come by. Vgachartz.com’s numbers show FIFA 13 sales at 13.22 million units versus 1.9 million for PES 13, through Sept. 14.
Commercial success doesn’t necessarily mean one game is better than another. But in this instance, I found that in nearly every measurable area, both on and off the virtual field, PES 2014 is vastly inferior to FIFA 14.
For $60, FIFA 14 is a deep, tightly knit gaming package that offers something for newbies, those who favor single-player action, online, ultimate team and community. Its realism and gameplay is improved from a year ago, and I can see reasons to keep coming back and playing the game. For the same money, it pains me to say that PES 2014 is not nearly in the same league.

Tuesday, September 24, 2013

Sunday at The Experience Music Project


I’ve been to the Experience Music Project only once before and with a very specific goal in mind: see Ernie. The EMP was having a Muppets retrospective. There was a lot of cool early Jim Hensen artwork and two things that made me surprisingly emotional — Ernie and Cookie Monster. They were big and they looked so alive and like such old friends. I wanted to hug them. We didn’t stick around to see the music stuff, though we did detour through the sci-fi collection.
This time, armed with the intention to burn through a comped CityPASS, we went explicitly to see the music archives. There’s a Hendrix exhibit, and one about Nirvana, and the Women Who Rock collection is up as well. Plus, there’s the EMPs spectacular collection of guitars. That National, good lord. So pretty.
I recently completed some research on Seattle’s rock and roll history for a story I was writing for Lonely Planet. I talked to the curator of the Nirvana show, Jacob McMurray. It was fun to chew over 90s Seattle with an expert — I moved here as grunge was just past its peak, I reckon, but the iconic clubs where those band first played were still open. I remember the crowds on the streets outside, my feet sticking to the floor inside these dingy bars. I didn’t see any huge shows — I had no money, and I do mean NO money — but I remember the noise and the scene and the places when they didn’t have shows and the cheap beer at happy hour. It was easy for me to get suckered back into 90s nostalgia again while looking at the 4×6 photo prints and Kurt’s sweater and the other objects on display.
“Everything is archive material,” I thought, and my brain skittered to a drumstick broken by rock DJ Jeff Gilbert when my band played his place, the Feedback Lounge, last winter.  I have it kicking around my office… somewhere. I should probably put it in a climate controlled storage locker, just in case.
EMP also has a Sound Lab where you can play rock star with real instruments, and a stage where you can perform in front of a virtual crowd. You get a poster or a DVD as a souvenir. Though the stage was occupied when we were there — we could see the current “act” on the monitor outside — there was no line. “You want to go do a show?” asked the husband. “Nope,” I said, “I’m good. Plus, you know, I’ve done that. With real people.”
Museum guests performing in Sound Lab.
Museum guests performing in Sound Lab. Photo by Nat Seymour of Be Technical Graphics, via EMP.
Now, I’m deeply aware of the relative insignificance of my career as a musician. But as we walked through the Sound Lab, where mostly adults intently focused on the monitors that told them what to do, I felt — as I often do, it seems — like just about the luckiest person alive. I have a music video and an EP and a second CD in the works. I’ve been in the recording studio and played live with my band to a small, but packed to standing room only house. I did not need a hands on museum exhibit to give me a taste of what it means to be a working musician; I have band practice every Monday night.  Maybe it’s different when there are a bunch of kids screwing around in there, having a good time, but everyone I watched was dead serious. I wanted to tell them, “Hey, lighten up! Rock and roll is FUN!” But what do I know — they could have been Real Musicians, not accidental ones like me, just seeing what they’ve got at the EMP and wondering if they should use the same kind of acoustic tile in that unused back bedroom.
My foreign born spouse was unimpressed with the EMP, but I had a good time checking it out. And as you’d expect, the acoustics in there are amazing, everything you hear is crystal clear, sharp, and clean. As we stood in the big open theater area in the lobby, watching music videos and listening to the perfect sound, I wondered one thing only: What’s it like to play in here?
Practical stuff:  The EMP is at Seattle Center. Street parking is free on Sundays, most other days you’ll have to pay or you’ll park a jillion miles away. It’s 20 dollars to get in but if you buy tickets online beforehand, you’ll save a fiver. Because we had CityPASS books, we went up the Space Needleafterwards, too. It’s 19 dollars to go up the Needle; there are no advance discounts. I hear good things about the restaurants associated with the EMP and the nearby Chihuly Museum (which is great, but not part of the CityPASS), but the food court in the Armory building at Seattle Center also has — I’m not making this up — excellent food from some of Seattle’s great local restaurants. Honest. I’ve eaten in the restaurant up the Needle too, it was better and not as expensive as I’d expected it to be, though it’s hardly a bargain.

Agents of SHIELD


Television review: 'Marvel's Agents of S.H.I.E.L.D.' on the case

Joss Whedon's show — not so much a sequel to 'The Avengers' as a parallel track — offers a skilled team that handles those out-of-the-ordinary crimes.

Could there be a more awkward and irritating title for a television show than ABC's new "Marvel's Agents of S.H.I.E.L.D."? Why couldn't they just call it what it is: "That Avengers Spinoff"?
Oh right, because there are no Avengers in it.
Which is precisely the point. Joss Whedon has constructed not so much a sequel to the "Avengers" movie as a parallel track to it by using some of the film's superheroes as support staff. Just as J.R.R. Tolkien eventually split his fellowship into various adventures in "The Lord of the Rings," Whedon and Marvel are attempting to broaden the story's already multi-platform universe by giving it concurrent plotlines.
This is the new world," says "Avengers" alum Maria Hill (Cobie Smulders), referring to the post-Battle of New York clean-up and generally bolstering continuity.
Agent Phil Coulson (Clark Gregg), who has been miraculously resurrected, is back to keep things running in this gods-and-monsters age, with the help of Strategic Homeland Intervention, Enforcement and Logistics Division. The name, which was a running gag in "Iron Man," continues as joke fodder. But seriously, ABC, if you can bring Coulson back from the dead, it is not too late to rethink the punctuation.
Though unaltered by radiation, chemical injection, nuclear hardware, Norse divinity or just old-fashioned abusive assassin-training, it is a crack team whose members take their jobs seriously. As recruit Grant Ward (Brett Dalton) quickly discovers when he is shipped home from Paris to aid Coulson in an investigation into "unregistered gifted."
As Whedon walks us through his version of the Bat Cave, we meet FitzSimmons, i.e., engineer Leo Fitz (Iain De Caestecker) and biochemist Jemma Simmons (Elizabeth Henstridge), an adorably British-accented couple who, in between performing miracles with computer screens, get to say things like "I'm not Hermione, I can't create instant paralysis with that."
But then, this being Whedon, everyone gets their fair share of witty asides. That includes cantankerous ace pilot Melinda May (Ming-Na Wen) and pesky S.H.I.E.L.D hacker eventually turned brilliant new team member Skye (Chloe Bennet). Who is, it will surprise no one to learn, also beautiful.
Fringe Division having been shut down earlier this year, it falls to S.H.I.E.L.D. to investigate those out-of-the-ordinary crimes and occurrences that so often indicate an angry alien, supervillain or government conspiracy. In the pilot, these events include ordinary people suddenly displaying super powers.
Not, as it turns out, good, Captain America-like super powers, but bad kill-you-and-those-around-you super powers. The action peaks with what seems like a standard bit of monologuing, but which really sets up the whole series — how do ordinary people cope with a world run amok?
Hit films have spawned many television adaptations, some of which are successful ("MASH"), some less so ("Terminator: The Sarah Connor Chronicles"). But there's never been a live-action series running not just concurrently with its franchise, but also in narrative sync. S.H.I.E.L.D. exists to keep things from getting to the point that the Avengers must be called in. A brand-expanding gambit, yes, but also a very clever concept.
Especially in the hands of someone who really understands TV. Though there's CG aplenty, the pilot is nowhere near as in-your-face as one might expect. Whedon understands that though television can do many things, it cannot out-blockbuster a blockbuster.
Instead, he is choosing a lower-key but still intriguing way. Which is why he resurrected Coulson. Not only is Gregg a beloved actor playing a beloved character, Coulson is the perfect guide for Whedon's vision.
He's a super-power-adjacent Everyman who may be able to make the television series just as good, in its own way, as the film franchise.

    Monday, September 16, 2013

    New Orleans Saints

    Drew Brees, Saints weather Buccaneers’ push

    TAMPA — Drew Brees was sacked four times, knocked around a bunch more, and threw an interception that was returned for a touchdown.
    Still, the New Orleans quarterback found a way to beat the Tampa Bay Buccaneers again.
    Garrett Hartley kicked a 27-yard field goal as time expired to give the Saints a weather-delayed 16-14 victory and their fourth consecutive win over their NFC South rivals on Sunday.
    the lead early in the fourth quarter to complete three straight passes for 54 yards to lead the Saints (2-0) into position to win.
    He finished 26 of 46 for 322 yards, although interceptions by linebackers Dekoda Watson and Mason Foster led to all of Tampa Bay’s points.
    The game was interrupted by a 69-minute suspension of play because of lightning that sent fans at Raymond James Stadium scurrying for cover early in the first quarter.
    The Bucs (0-2) lost on a field goal in the closing seconds for the second straight week. Foster scored on an 85-yard interception return for a 14-13 lead.
    However, Rian Lindell missed a 46-yard field goal attempt just over a minute later, giving Brees one more chance to bring the Saints back.
    Brees led his team into scoring position with completions of 15 yards to Jimmy Graham, 8 yards to Darren Sproles, and 31 yards to Marques Colston.
    It was the 22d time during the regular season Brees has led a game-winning drive in the fourth quarter or overtime.
    The Bucs played resilient defense to stay in the game, but in the end weren’t able to generate enough offense.
    Josh Freeman completed just 9 of 22 passes for 125 yards for Tampa Bay. Doug Martin rushed for 144 yards on 29 carries.
    The Bucs visit Gillette Stadium next Sunday for their first meeting with the Patriots since the 2009 season. The game at London’s Wembley Stadium was won by the Patriots, 35-7.

    Navy Yard shooting

    Gunman and 12 Victims Killed in Shooting at D.C. Navy Yard

    WASHINGTON — At least 13 people, including one gunman, were killed, and the police were looking for other potential suspects, in a shooting Monday morning at a naval office building not far from Capitol Hill and the White House, police officials said.
    One police officer was in surgery after being shot in an exchange of fire with a gunman, said Chief Cathy L. Lanier of the Metropolitan Police Department. The shootings took place at the Washington Navy Yard, in the southeast part of the city.
    Senior law enforcement officials identified the gunman as Aaron Alexis, 34. He was identified through his fingerprints.
    According to the Navy, Mr. Alexis enlisted as a full-time reservist in May 2007 and left the service in January 2011. He served as an aviation electrician, and the highest rank he achieved was mate third class. From February 2008 to January 2011, he was assigned to Fleet Logistics Support Squadron 46, in Fort Worth.
    The Navy said Mr. Alexis had been awarded the National Defense Service Medal and the Global War on Terrorism Service Medal.
    Shortly after 4 p.m., the F.B.I. released a “Seeking Information” bulletin asking for the public’s help in learning more about Mr. Alexis. The bulletin, which had two photographs of Mr. Alexis, said he was 6 feet 1 inch tall, weighed 190 pounds and was born in Queens.
    Valerie Parlave, the assistant director of the Washington field office of the F.B.I., urged members of the public to look at pictures of Mr. Alexis on the F.B.I. Web site and to call with any information they might have about him.
    “No piece of information is too small,” she said. “We are looking to learn everything we can about his recent movements, his contacts and his associates. We ask the public to look at the photos of the deceased shooter.”
    Three weapons were found on the gunman: an AR-15 assault rifle, a shotgun and a semiautomatic pistol, an official said.
    “It’s hard to carry that many guns, so there is some thinking that he may have taken some of them from security or whoever else he shot,” the official said.
    One federal law enforcement official said the suspected gunman had family in New York, a mother and a sister or sisters, but had not lived there.
    The official indicated that the gunman was captured on video as he entered the building before the shooting and said that it was possible that other portions of the episode were also recorded by cameras inside the building.
    “We’re continuing to see if there are in fact additional shooters, but we have nothing to indicate that yet,” the official said.
    As the day wore on, officials released conflicting information about the search for two possible gunmen.
    Officials said one of the two gunmen they were looking for was a white man wearing a khaki Navy uniform and carrying a handgun. The other was a black man, about 50 years old, who was believed to be carrying a “long gun,” police officials said.
    But officials in Washington did not move to lock down the city in light of that threat. The Metro, the city’s subway system, continued to operate normally. Out of an “abundance of caution,” Terrance W. Gainer, the Senate sergeant-at-arms, put the Senate complex into lockdown just after 3 p.m. The Senate had recessed in the early afternoon.
    Meanwhile, the city’s deputy mayor for public safety wrote on Twitter just moments after Chief Lanier’s afternoon briefing that one of the men being sought had been cleared. “The white male being sought in connection to the #NavyYardShooting has been identified and is NOT a suspect,” said the post from the account of Paul A. Quander Jr., the deputy mayor.
    One law enforcement official involved in the investigation said that the authorities had received few reports from witnesses of seeing gunmen who fit the descriptions that the city officials had provided. “There would have been a whole lot more damage if there had been three gunmen,” the official said.

    Miss America

    Miss New York wins Miss America pageant

    California's Crystal Lee is first runner-up. Much viewer attention goes to the contestant in Army boots.

     
    Miss New York Nina Davuluri, right, reacts with Miss California Crystal Lee after Davuluri was named Miss America. (Julio Cortez, Associated Press / September 15, 2013)
    ATLANTIC CITY, N.J.  — Nina Davuluri became the first contestant of Indian heritage and the second consecutive contestant from New York to win the Miss America pageant Sunday night.

    Davuluri, 24, won the title as the nationally televised pageant returned home to Atlantic City.

    She succeeds another Miss New York, Mallory Hagan, whose tenure was cut short when the pageant moved back to Atlantic City after a six-year stint in Las Vegas, where winners were chosen in January.

    Davuluri performed a classical Bollywood fusion dance for her talent competition.

    After the traditional frolic in the Atlantic City surf Monday morning, she will head to the scene of a devastating boardwalk fire in the New Jersey communities of Seaside park and Seaside Heights on Monday afternoon.
    Miss California, Crystal Lee, was first runner-up.
    The pageant had pitted 53 contestants — one from each state, plus the District of Columbia, Puerto Rico and the U.S. Virgin Islands — in swimsuit, evening gown, talent and interview competitions.

    “This is where we belong,” Sam Haskell, CEO of the Miss America Organization, told The Associated Press. “This is the home of Miss America, and this is where we're going to stay.”

    Much attention had been given to Miss Kansas, Theresa Vail, who is believed to be the first Miss America contestant to openly display tattoos. She has the Serenity Prayer on her rib cage and a military insignia on the back of a shoulder. While other contestants wore glamorous costumes and elaborately decorated footwear during Saturday night's “show-us-your-shoes” parade on the Boardwalk, Vail wore camouflage gear and Army boots.

    In a Twitter message Sunday, Vail wrote: “Win or not tonight, I have accomplished what I set out to do. I have empowered women. I have opened eyes.”

    Vail made it to the Top 10 and won a nationwide voters' choice award propelling her into the semi-finals.

    Another noteworthy contestant was Miss Florida, Myrrhanda Jones, who made it into the top 5 while wearing a bejeweled knee brace. She tore ligaments in her knee while rehearsing her baton twirling routine on Thursday. Sunday night, she performed the routine flawlessly.

    The pageant started in Atlantic City as a way to extend the summer tourism season for an extra weekend. 

    Sunday, September 15, 2013

    Peyton Manning

    Peyton Manning tops Eli as Broncos thump Giants, 41-23

    Eli Manning throws a pass during the first
    Photo credit: Kathleen Malone-Van Dyke | Eli Manning throws a pass during the first half of a game against the Denver Broncos. (Sept. 15, 2013)

    The Broncos put a beating on the Giants like only a big brother can.
    Peyton Manning beat his little sibling Eli for the third time in his career, this time teasing him by keeping it close before blowing the game open midway through the second half in a 41-23 win at MetLife Stadium on Sunday.
    Peyton Manning finished the game completing 30 of 43 attempts for 307 yards and two touchdowns. Eli Manning was 28 of 49 for 362 yards and a touchdown but also threw four interceptions.
    The Giants fell to 0-2 for the first time since 2007 -- a season in which they won the Super Bowl. The Broncos, meanwhile, improved to 2-0 and looked very much like a team that has not played its last game at MetLife Stadium, the home of Super Bowl XLVIII, this season.
    As the fans filed for the exits after Eli Manning's third interception of the game, a fourth-and-10 heave into the end zone with about eight minutes remaining, it was hard to believe that only 10 minutes of play earlier the Giants were within a point of the lead.
    Two changes of possession at roughly the same part of the field allowed the Broncos to pull away in the second half. Peyton Manning hit Julius Thomas for a quick pass and Prince Amukamara poked the ball out for a fumble. The ball was bouncing towards Ryan Mundy, who had recovered an earlier fumble, but linebacker Mark Herzlich tried to cut it off. He wound up juggling it and fumbling it back to the Broncos. Knowshon Moreno recovered it for Denver, and seven plays later ran around an unprotected left flank of the Giants' defense for a 25-yard touchdown to make it 24-16. He had scored on the same play in the first half from 20 yards out.
    The Giants were still within a score. But an Eli Manning pass to Rueben Randle over the middle was broken up by Tony Carter. The ball clipped Carter's heel and bounced in the air, where Chris Harris was able to catch it for an interception, the second against Eli Manning on the day. That gave the Broncos the ball at the Giants' 36, and on third-and-8 from the 11 Peyton Manning hit tight end Julius Thomas for a touchdown pass and a 31-16 lead with 12:19 left in the game.
    After a three-and-out by the Giants' offense, Trindon Holliday returned a punt 81 yards for a touchdown that broke the game open, 38-16, with 10:13 remaining.
    Da'Rel Scott caught a short pass from Eli Manning and went in for a 23-yard touchdown with 3:59 remaining in the game to make it 38-23, but an offsides call on the ensuing onside kick gave Denver the ball back, leading to Matt Prater's 47-yard field goal to make it 41-23.
    Several missed opportunities prevented the Giants from taking a lead through the first three quarters. Brandon Myers simply fell down on his way toward the end zone in the second quarter for what would have been a touchdown, and later on the drive, on third down, the ball went through Myers' hands for an incompletion. The Giants were driving late in the second quarter when a pass interference penalty put them in easy field-goal position, but Eli Manning was picked off by Dominique Rodgers-Cromartie on an attempt at the end zone with nine seconds remaining. Instead of a fourth first-half field goal for a 12-10 lead, the Giants went into the half trailing 10-9.
    Peyton Manning opened the second half with a 2-yard touchdown pass to Wes Welker to make it 17-9, but the Giants countered with a 1-yard touchdown run by Brandon Jacobs to close within a point at 17-16 with 3:08 left in the third quarter.