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sharing because john wayne

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COMMON MAN GIVE ME UNTIL END OF Q1

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did you guys see that nyc is putting $2.3b into helping the homeless?

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i hope this doesn't effect my gold status.

Marriott International said it will buy Starwood Hotels and Resorts Worldwide, in a cash and stock deal worth $12.2 billion. The merger will make Marriott the world's largest hotel company, with more than a million hotel rooms around the world.

Marriott already operates a large portfolio of properties, including Ritz Carlton, JW Marriott, and Courtyard. Starwood will add 11 brands to the mix, including St. Regis, W Hotels, Sheraton and Westin.

It's a marriage that should yield some pretty significant economies of scale.

There's a lot of money to be saved by combining hotel operations, such as "property management systems, reservation systems, booking systems, websites, accounting, marketing,” said Steven Carvell, an associate professor at Cornell University's School of Hotel Administration.

But Carvell said Marriott may not get a whole lot of additional leverage from its bigger orders for things like bath towels and little shampoos. "Once you're already the size of Marriott, I don't know how much more of a discount you're going to get,” he said. “But it certainly won't hurt them."

But what about us travelers? Will the merger hurt us?

It shouldn’t, said associate professor A.J. Singh, from The School of Hospitality Business at Michigan State University. "The good news about the hotel industry is that there are still a lot of independent hotels in our business."

Marriott may soon have a million rooms worldwide, but there are more than five million rooms in the U.S. alone, Singh said. Airbnb is also adding to the competition.

As for the different rewards programs, it is likely Marriott will do it's best to keep Starwood's SPG members happy. Part of what Marriott is buying in the deal is the loyalty of Starwood's often young and affluent travelers.

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this looks interesting

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this. this was my life.

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The Financial Times reports Wednesday on yet another car recall, this time one related to a problem with airbags.

But before you worry that you're in danger, know that this recall affects only one vehicle — not one type of vehicle, just one car.

It's a Rolls-Royce Ghost II, and it hasn't actually been delivered to its North American owner yet.

During a safety check before Rolls-Royce was going to send the car to the customer, engineers noticed that one of the airbags had incorrect labeling so they issued a recall notice.

Because that's the kind of individual attention you expect when you pay close to $300,000 for a car.

The Rolls-Royce recall isn't actually the only time a single car has been recalled for a problem. The Financial Times says a 2002 Porsche 911 Carrera got singled out, and so did a 2013 Koenigsegg Agera supercar which had a problem with a tire pressure warning light.

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that would have an impact on the entire north east

For more than 40 years, Connecticut has been home to one of the titans of the Dow, General Electric. But now the state is playing a game of “will they or won’t they?” with one of its most high-profile corporate citizens. GE said earlier this year that it’s reconsidering where to site its headquarters building, and a final decision is expected by the end of the year.

So if GE does decide to pull up stakes for Atlanta, or some other location, just what will be left behind?

The town of New Canaan prides itself on its quaint, village atmosphere, and on wearing its considerable wealth discreetly. This community is home to GE’s CEO, Jeff Immelt. Realtor John Engel of Halstead Properties said the housing market here has already seen some softening in recent months, so for him the prospect of GE leaving — and taking its well-compensated headquarters workers — is pretty scary.

"Eight hundred more homes coming on the market throughout the county is going to have a significant impact on the housing market in these towns,” Engel said.

And in addition to all those hard-to-sell, multi-million dollar homes, the region will lose the millions of dollars in taxable income earned by those seasoned, experienced workers. “It’s going to be a real shame if this jolt to the housing market, to the local economy occurs, and we have to address how to replace those jobs, replace those kids in the school system, replace those empty tables at our restaurants,” Engel said.

In New Canaan’s picturesque downtown, one of those restaurants is a local favorite for GE executives: Chef Luis, owned by Luis Lopez. Lopez has been working in the restaurant trade here since the 1990s, and he’s seen good times and bad.




Outside Chef Luis Restaurant in downtown New Canaan. (Harriet Jones)

“Now that they leave,” he said, “probably other companies will be leaving too, and that means that there is no money that is going to be spent. Employees lose their jobs, local people, so that means they don’t go out. So it will hurt the business, of course it will hurt our business.”

Connecticut’s Fairfield County, just a short commute from Manhattan, has long had a concentration of corporate headquarters and wealthy hedge funds. But it has been struggling to find its feet since the financial crash.

“To put it bluntly, it’s a seismic event if one of these organizations leaves,” said David Lewis. Lewis’s company, Operations Inc., provides human resources services to small businesses in Fairfield County, many of them tied to business relationships with big corporations. GE says it spends $14 billion a year with Connecticut suppliers. Not all of that would leave with the headquarters, but Lewis is worried.

“For what it sends in terms of a message about whether or not this county is still a viable place to do business,” he said. “That I think is one of the biggest concerns.”

So there are business relationships, there is housing, and there’s all that disposable income. But there’s also community involvement. Last year GE gave some $10 million in charitable contributions in Connecticut, and its workers — who sit on hundreds of boards throughout the state — gave 49,000 volunteer hours.

At the Stamford warehouse of AmeriCares, a forklift moves pallets of donated medical supplies for another disaster response. This national nonprofit has benefited from a close partnership with the GE Foundation, which has spent millions of dollars funding programs since the 1980s.

"They’re very hands on, and I mean that in the most positive way," said AmeriCares' CEO Michael Nyenhuis. "They’re a close partner, they work with us in the design and development and evaluation of the programs that they fund. And the fact that we are close enough to have regular face-to-face meetings no doubt helps that.”

AmeriCares expects its relationship with GE to survive any headquarters move, but that won’t be likely for other charitable activity here. It’s difficult to imagine a Georgia- or New York–based company giving $3.2 million to public education in Stamford, Connecticut, or funding housing in disadvantaged Bridgeport.

But not everyone here is expecting the worst. “People put down roots — companies don’t. Not any longer,” said Chris Bruhl, the CEO of the Business Council of Fairfield County.

Bruhl’s taking the long view. "The idea of departure to find the right headquarters for your line of business doesn’t mean that the people left behind in Fairfield County are going to be a smoking ruin, right? We will simply move on and adapt.”

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good work mom

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23. Die Another Day (2002)
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bond-die-another-day

Pierce Brosnan was a good James Bond. The problem was, after Goldeneye, he was left adrift by pretty stiff scripts. Brosnan’s charisma elevated most of his Bond movies, but no amount of charm could make Die Another Day work — an utter cartoon of a movie. Following the rather cool opening sequence in North Korea, everything goes downhill after the Saved by the Bell joke. Missing a strong villain, a memorable Bond girl, and genuine stakes, Die Another Day is a middle-of-the-road Bond pic. The film isn’t as bad as its reputation [It’s actually worse.], but there’s a reason why this series needed a serious, more modern reboot after Die Another Day. Casino Royale basically did the exact opposite of Die Another Day — one of the many reasons why it’s so good. (Jack Giroux)

22. Moonraker (1979)
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bond-moonraker

A lot of what’s wrong with Moonraker can be blamed on Star Wars and the craze of space adventures that followed it. Though in fairness, on paper there’s something interesting about sending James Bond, Roger Moore in his fourth film, to space to battle an industrialist who is trying to bring about the apocalypse and repopulate. It wasn’t enough to build extravagant, almost (but not quite) Kubrickian sets. It wasn’t enough to bring back Richard Kiel as Jaws. It wasn’t enough to create one of the most offensive Bond girl names of them all (Holly Goodhead), nor did any of the high-wire stunts help. Moonraker ended up being something extravagantly, stylishly, viciously uninteresting. Also it had laser guns. And not the cool kind, either. (Neil Miller)

21. Octopussy (1983)
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bond-octopussy

As we just explored with the last entry, Roger Moore’s tenure as Bond really took a turn as the 70s gave way to the 80s. In what probably should have been his final turn, even though it wasn’t, Moore went down the rabbit hole of Cold War narrative and ended up defusing a bomb dressed as a circus clown. The theme song, performed by Rita Coolidge, would have you believe that Octopussy would be an “All Time High,” but it was anything but. Diversions to India, the aforementioned clowning around with the Soviets, and the car on rails gag should have signalled the beginning of the end for Moore. That, and historians cite the fact that the producers also tested both Timothy Dalton and James Brolin for the role before convincing Moore to return. They should’ve went with their guts. (Neil Miller)

20. Diamonds are Forever (1971)
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James Bond: Diamonds Are Forever

Diamonds has easily one of the most iconic theme songs of the franchise, a second turn for Shirley Bassey after Goldfinger. This one was also the return of Sean Connery following Eon’s turn handing the franchise over to George Lazenby in 1969. While there’s a lot to really love in Diamonds Are Forever, including Connery hamming it up, that one really great car chase through Las Vegas and a commitment to silliness (thanks, Blofeld), a lot of this one feels phoned in. From the oddball henchmen played by Putter Smith and Bruce Glover, to the slew of just plain disinterested performances from Bond’s feminine accomplices, played by Jill St. John and Lana Wood. It was weird and complex and at times exciting, but Diamonds are Forever never quite lived up to its endurance-insinuating namesake. (Neil Miller)

19. A View to a Kill (1985)
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James Bond: A View to a Kill

Despite the missteps that plagued his late Bond tenure, Roger Moore did finish strong with A View to a Kill. Or, at the very least, he went out with a bang. A San Francisco-set caper, with Christopher Walken and the alluring Grace Jones as his foes, with big set pieces and a theme song from Duran Duran. It was such a big affair that it became the first Bond film to premiere outside the UK. Fun fact. While Roger Moore would later come out to say that it was his own least favorite Bond, it holds a place in many hearts for being one of the most violent. Walken’s Max Zorin was a real piece of work. But A View to a Kill is not without its problem. Aside from a grande climactic action sequence include a zeppelin and the Golden Gate Bridge, all the other action in the movie was poorly choreographed and with a then 58-year old Moore executing them, they were mostly laughable. It was a not-so-great Bond movie that had all the right ingredients, it just didn’t have the right man in the 007 suit. It’s no wonder that Moore passed the torch to Timothy Dalton two years later. (Neil Miller)

18. The Living Daylights (1987)
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James Bond: The Living Daylights

While most fans acknowledge Casino Royale as a turning point in the Bond franchise, let’s not forget that Craig was actually the second actor to be pitched as Bond for the modern era. Interviews leading up to the film’s release touted Timothy Dalton as bringing back a sense of realism and danger to the franchise. The Living Daylights director John Glen even went so far as to refer to Dalton as “the best actor we’ve ever had in the role.” And Dalton is great in his first outing as Bond; it’s just the rest of the movie that suffers from being behind the times. By the end of the film, Bond has effectively forced a talented musician into a codependent relationship and given backing to a nascent terrorist cell. The Living Daylights also marked the first of three appearances by Joe Don Baker, despite the fact that his character dies in the final twenty minutes. Does any of that sound like progress to you? (Matthew Monagle)

17. The World Is Not Enough (1999)
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James Bond: The World is Not Enough

At the turn of the century, Bond was in a weird spot and this movie vibrates with the energy of that confused state of existence. It was obsessed with the MTV generation, inserting Denise Richards as Dr. Christmas Jones, a nuclear physicist who aids Pierce Brosnan’s Bond in his mission. In their attempt to turn the classic Bond Girl archetype on its head and make her an intelligent, well-rounded character, they made it laughable. Richards was just plain bad. But, Eon’s quest to find a more youthful audience for 007 did lead to one of the better theme songs, the titular tune by Garbage. The one thing that makes The World is Not Enough a sort of guilty pleasure among Bond fans is its bombastic high-wire act. There are elements that feel very classic, like Bond’s relationship with Q and the film’s commitment to swinging big on its action set pieces. And there were elements that have been replicated in more modern Bond films, like 007’s very personal and protective nature when it comes to M, something we saw again in Skyfall. If it accomplished anything, The World is Not Enough was a good transitional piece. Unfortunately for Pierce Brosnan, that meant transitioning from the progressive mid-90s films to the shiney, completely incoherent Die Another Day. (Neil Miller)

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16. For Your Eyes Only (1981)
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James Bond: For Your Eyes Only

This is the moment in between two decidedly weird turns for Roger Moore’s James Bond. It benefited from a course correction following Moonraker in which the producers wanted to bring Bond back to his roots. It was a more grounded thriller with some nice tropical locations and a dash of revenge. And Roger Moore in a chase scene on a set of skis. That was like, his favorite thing to do as James Bond. What it lacked in dramatic punch — and it lacked quite a bit of dramatic punch — For Your Eyes Only made up for with a lot of really fun action. It may be one of the clunkiest films of the franchise, but there’s little sense in denying that it did find that grounded, practical action sweet spot that was sorely needed following Moonraker. (Neil Miller)

15. Tomorrow Never Dies (1997)
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James Bond: Tomorrow Never Dies

Brosnan’s best entry was also his first, but this follow-up is a solidly entertaining adventure and his last good one before driving the franchise off a cliff with Dr. Christmas Jones and an invisible car. The villain here offers a fine commentary on corrupt media, and while he’s not threatening on a personal level he provides an interesting display of corporate power. The biggest draw in this film though is the addition of Michelle Yeoh as a confident and competent equal to Bond. Brosnan’s films belong in the Connery/Moore camp as slight entertainment of varying quality, and this is a good example of that. (Rob Hunter)

14. You Only Live Twice (1967)
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James Bond: You Only Live Twice

I’ve always found the name of the Bond girl, played by Mie Hama, to be the funniest. Kissy Suzuki is no rival to Pussy Galore in its sheer ridiculousness, but it is good for a chuckle. What’s not so great for a chuckle is You Only Live Twice’s strange racial elements, in which Sean Connery’s 007 fakes his own death and travels to Japan, where he is disguised as a Japanese man (complete with a really bad yellowface makeup job) while he investigates the hijacking of an American spacecraft. Weird racial politics aside, this Bond adventure does have one of the most iconically sinister-looking villains in Donald Pleasence’s Ernst Blofeld and it accounts for one of the franchise’s most horrific deaths (when Number 11 is tossed into a pool of piranhas). There are ninja armies, too. And you can’t really go wrong with Bond and ninjas. That’s just how things work. (Neil Miller)

13. The Man with the Golden Gun (1974)
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James Bond: The Man with the Golden Gun

Moore’s second outing once again paired him with director Guy Hamilton, and while I’m no fan of Hamilton’s Connery Bond films he continued to redeem himself with the more jovial and charismatic Moore. The story is once again a bit smaller and more personal in scale as it builds its man vs man dynamic, and it gets the villain right straightaway with the casting of Christopher Lee. A pretty stellar car chase and epic river jump highlight the action while Britt Ekland and Francoise Therry (as the terrifically named Chew Mee) elevate the visual appeal of Bond girls. (Rob Hunter)

12. Thunderball (1965)
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James Bond: Thunderball

The fourth Bond, the third and final effort from director Terence Young, was perhaps the director’s most steady-handed product. There’s an allure and inventive nature of Young’s other two Bond films, which we’ll be exploring shortly, but Thunderball was the height of his (and Sean Connery’s) confidence in making a slick, crafty Bond adventure. It’s slow to pick up energy, but Thunderball eventually brings out gadgets and Connery’s rugged charm in equal doses. As well, Claudine Auger’s Domino and Luciana Paluzzi’s Fiona Volpe may be two of the most underrated femme fatales in franchise history. To date, it’s second only to Skyfall in its financial success (if you adjust for inflation) and was an Academy Award winner for Best Visual Effects. Of its era, it was perhaps one of the best pure-action movies in the Bond oeuvre. (Neil Miller)

11. On Her Majesty’s Secret Service (1969)
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James Bond: On Her Majesty's Secret Service

OHMSS is easily the most forgotten and easily dismissed James Bond adventures. It’s the strange one-off of George Lazenby, mashed in between when Sean Connery got to old and when Roger Moore energized the franchise like a bolt of lightning. A lot of this has to do with Lazenby’s more gritty take on the character. His lack of panache was a real downer following years of Connery (including some of the lesser Connery). I’d like to think that this is the kind of reception that Daniel Craig’s Bond may have received if he’d only lasted one movie. In his time, Lazenby was a far less charismatic, intensely brutal version of the superspy. While history has not been kind to this one, the truth of the matter is that it’s still a really good action movie. It’s the one where Bond kicks a lot of ass, plays against type and even more astonishing, finds love. And it’s with a young, gorgeous, formidable Diana Rigg. Of course, it’s also the darkest Bond of its era (that ending is gutting) and its villain (Telly Savalas as Blofeld) has one of the more ridiculous plans to hold the world ransom. So it’s not perfect, but it’s better than it is remembered. Far better even, than it will ever be treated. (Neil Miller)

10. License to Kill (1989)
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James Bond: License to Kill

On the surface, License to Kill appears to be little more than an Americanized take on the typical storyline. Bond goes rogue after his colleague in the CIA is seriously wounded, forcing him to take on a drug cartel in Florida and Latin America; not exactly the most exotic locations in the franchise. What elevates License to Kill, though, is the film’s understanding of the character’s darker side. Bond will always be remembered as the debonair playboy in a tuxedo, but there is a callousness – a fundamental disregard for human life – that allows him to excel as a professional killer. Dalton’s performance borders on cruel without losing any of the character’s immense charm; it’s the perfect performance from my favorite actor/Bond pairing. Throw in sterling supporting performances from Robert Davi, Anthony Zerbe, and an oh-so young Benicio Del Toro, and you’re left with one of the best unheralded entries in the franchise. (Matthew Monagle)

–~~~~~~~~~~~~–
9. Goldeneye (1995)
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James Bond: Goldeneye

We’re only two weeks away from the twentieth anniversary of Goldeneye, so fair warning: if you had planned to sit down again with the film to mark the event, you might want to spend some time with the N64 game adaptation instead. Some movies are just better remembered than re-watched. Most of the film – even the parts that work – combine vintage Bond tropes with the overwrought action of a nineties action blockbuster. What does hold up is Sean Bean’s performance as Alec Trevelyan. Trevelyan represents a kind of hyper-sane James Bond. Whereas the latter gets to reset his relationships with every new outing of the franchise, Trevelyan lives with each death and act of violence performed in service to his country. It’s no coincidence that the two best Bond villains of the last thirty years were both disgruntled MI6 agents. Bond is just a lot more fun as a villain. (Matthew Monagle)

8. Live and Let Die (1973)
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James Bond: Live and Let Die

Roger Moore’s first go at Bond lets you know almost immediately that he has no interest in aping Connery (something Connery himself was doing in his last few films), and instead he dials down the intensity to reveal the world’s most relaxed secret agent. Thanks in part to a legitimately funny script Moore also ramps up 007’s wit — he’s less cruel but just as sharp — and ensures downtime between stunt-pieces is still immensely entertaining. This is one of the few entries with a somewhat grounded villain — heroin magnate instead of mad, super genius trying to destroy the world — and that also works in the film’s favor as the action is still big and fun without getting lost amid pure stupidity (see Moonraker). Add in a stellar theme song and the true beauty that is Jane Seymour, and you have an immensely fun entry that never fails to entertin. (Rob Hunter)

7. Goldfinger (1964)
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James Bond: Goldfinger

James Bond at the height of his coolness. The suits, the aston martin, and the genuinely clever quips, Sean Connery had never been finer as the super spy. A part of why Goldfinger is fantastic is because its great hero has an equal adversary. Auric Goldfinger is as delightful to watch as James Bond. Physically, he may be no match for the MI6 agent, but he’s smart enough to surround himself with dangerous goons, like the hat-throwing Oddjob. There’s a handful of iconic shots, lines, and moments in Goldfinger. This is a Bond movie that has stood the test of time. (Jack Giroux)

6. Skyfall (2012)
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James Bond: Skyfall

The three current (soon to be four) most modern James Bond films have, in all contexts, been some of the best years of 007. When we look back at Daniel Craig’s work in the role, he will rank at or near the top of the list not only because of his own acting quality, but of the gorgeous films that were built around him. Sam Mendes’ Skyfall is like a beautiful tapestry that eventually gets filled with bullet holes. But in those quiet moments, before the action ignites, it’s simply stunning. Cinematographer Roger Deakins has been nominated 12 times for an Oscar. This should have been his first win, but he lost to Claudio Miranda’s work on Life of Pi. That’s a damn shame, as Deakins’ heart and soul is in the look of this movie. That is not even to mention the wicked villain (Javier Bardem) and the balls-to-the-wall action sequences that drive this movie like a bullet train. The other two Craig-led films may have slid higher on this list (spoiler alert, if you didn’t skip ahead), but none of them — and none of the others — ooze visually poetic, artful beauty quite like Skyfall. (Neil Miller)

5. The Spy Who Loved Me (1977)
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James Bond: The Spy Who Loved Me

What was it with Roger Moore and skiing? Nevermind the question. That’s perhaps another article entirely. There’s nothing wrong with Roger Moore skiing in this film, because this film is one of those nearly perfect Bond films. It had a fantastic pair of villains (Curd Jurgens as Stromberg and Richard Kiel as Jaws) that wanted to destroy the world and form a new civilization under the sea. It had a quintessential Bond girl in Barbara Bach, whose Anya Amasova was tough, sexy, smart and always dangerous. It has some of the coolest gadgets, including Lotus Esprit that goes underwater. And it has one of the best scores, delivered by the incomparable Marvin Hamlisch. Everything that is right and good about James Bond movies exists within The Spy Who Loved Me. Some would call that sticking to the formula setup by the 9 movies that preceded it. I call it a full-force realization of what’s great about the franchise. (Neil Miller)

4. Quantum of Solace (2008)
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James Bond: Quantum of Solace

I know what you’re thinking… “Quantum of Solace at #4? These FSR guys are idiots.” Maybe so imaginary reader, maybe so, but that doesn’t change this movie from being a fantastically effective and affecting entry in the Bond canon. Quantum is best-viewed as a thrilling coda to Casino Royale — it may not be necessary, but it syncs beautifully with that film’s story arc and emotional journey, and it offers a smaller, original narrative with the Camille character before tying the two together. Complaints about the action are nonsensical gibberish as every action beat here — yes, including the opening car chase — is exciting and geographically sound. Camille is a supremely capable female, a concept the series has only really touched on once before (in Tomorrow Never Dies), and she’s something of a prototype Imperator Furiosa who earns our respect through her ability and drive. Do yourself a favor, and if you can go in with an open mind rewatch Casino and Quantum in one sitting for the full effect. Or don’t. It’ll still be here at #4 on our list. (Rob Hunter)

3. From Russia with Love (1963)
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James Bond: From Russia with Love

Across the history of the Bond franchise — at least until the last few movies starring Daniel Craig — there haven’t been any one-two punches quite like Dr. No and From Russia with Love. Both Sean Connery and director Terence Young entered their second Bond adventure with great confidence, creating one of the best slow-burns of the franchise as 007 unwinds a tale of revenge involving SPECTRE’s response to his dispatching of the first film’s villain. Like Dr. No, this one introduced a number of long-lasting Bond elements: the pre-titles action sequence and the franchise’s obsession with high-speed vehicles without four wheels (speedboats and helicopters). It also features an ferocious fight inside a train, another form of transportation that has ultimately been a favorite battleground of 007. Even though it’s got a slow, simmering dramatic energy to it, From Russia with Love moves incredibly well thanks to its many modi transportation. Connery is also in top form, further cementing Bond’s signature style. (Neil Miller)

2. Dr. No (1962)
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James Bond: Dr No

Sometimes there’s no one more memorable than for your first. And while Dr. No isn’t going to top our list, there is so much that every other film in the franchise owes to Sean Connery’s opening salvo. Dr. No established much of what would become essential to the franchise. The way 007 introduces himself (“Bond… James Bond.”) to the beautiful women who inhabit his journeys (sexual awakenings were created by Ursula Andress’ emergence from the sea in that white bikini) to the over-the-top villainry (and their fancy evil lairs). It’s all there in Dr. No. And while a number of these iconic elements have been refined, rebooted and revisited to greater effect over the years, there’s no substitute for what was a very innovative, pitch-perfect introduction to Ian Fleming’s enduring creation. (Neil Miller)

1. Casino Royale (2006)
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James Bond: Casino Royale

It probably shouldn’t have come as a surprise that Martin Campbell, the director who previously rejuvenated the Bond franchise with Goldeneye, could repeat the feat eleven years later, but no one expected a success this complete. The first film of Daniel Craig’s tenure is a masterclass in action, wit, emotion, and style, all while balancing an appreciation for the old and in invigoration of the new. It’s the rare origin story that works effortlessly in shaping a character through experiences rather than exposition — we watch Bond grow from blunt object to finely-tuned weapon. Action scenes big and small, Bond’s dark sense of humor, and Eva Green’s best performance all mix together beautifully, and while Rene Mathis’ running commentary during the poker games keeps the film at arm’s length from perfection it remains the best Bond film. (Rob Hunter)

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i don't dig the 3p suit here but i dig the pattern

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also: https://www.washingtonpost.com/news/worldviews/wp/2015/11/10/france-wont-dine-with-iran-unless-wine-is-served/

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When she gave Ross Ulbricht the harshest sentence she could, Judge Katherine Forrest said what he had made was "terribly destructive to our social fabric."

She also said that Ulbricht's sentence should serve as a warning to others.

Has it? Difficult to tell. One thing's for sure: Dark Net or Dark Web markets have evolved.

They're easier to use, there's more of them, and more listings for illegal drugs than ever before.

One estimate from earlier this year puts the growth rate of drug listings on these markets at 37 percent.

Almost like how the Spiderman storyline evolved to have super-villains and antiheroes.

VENOM

That at least is the quickest and easiest comic-book analogy I can come up with. Is there a better one?

It seems clear that even with Ross Ulbricht in jail, Dark Web markets will continue to exist.

These bits of information prove something interesting. Just like the regular "light web," the dark web is in a constant state of transformation and evolution.

Like any technological ecosystem, it's changing and evolving quickly, with the added incentive of staying ahead of the law.

In many ways it looks and acts the same, just outside of the normal set of rules that govern the regular web.

I actually went shopping on the Dark Web with Wired reporter Andy Greenberg and bought a scale, but it hasn’t showed up yet. I'll let you know if it does.

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$170 million
That's about how much 'Nu couche,' a painting of a nude reclining figure by early 20th artist Amedeo Modigliani went for at Christie's auction house on Monday night. The high price tag is a little surprising given that Modigliani was fairly prolific. But in the art world, where collectors like to have the ability to amass a fair amount of works by an artist, having a healthy supply can actually lead to a hike in price.

$1.5 billion
That's the worth of all of the wine stored at Octavian's 93,000 square meter Corsham Cellars, a giant storage facility 30 meters underground. With clients including Christie's and Sotheby's, the cellar is located just outside Bath, England. As Bloomberg writes, the space used to be a stone quarry in the 1800s. Around 25 years ago, they started using it to store wine. But you still have to wear a gas mask.

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That's how many so-called "jumbo deals," bond offerings with more than $10 billion dollars in proceeds, have been carried out this year. As much as people complain about the Fed waiting so long to raise rates, clearly some companies are taking advantage.

$1000
That's the worth of gift cards being offered to owners of diesel-powered cars by VW. As the Associated Press writes, it's an act of goodwill, considering the owners of the 482,000 cars in question paid extra for environmentally-friendly vehicles only to find the numbers had been fudged.

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i found this cool map of castles

http://u.osmfr.org/m/56578/

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gosh i met the new psychopath on my new team. should be fun.

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Walt Disney announced earnings after the bell yesterday. Revenue increased partly due to ad sales from ESPN.

Disney also announced a new content deal with Sony's PlayStation Vue. The internet service will add ESPN, ABC and Disney Channel to its streaming line-up. It already has channels like Comedy Central, MTV, and USA Network.

The entry level price starts at $50 a month. No word yet if this new deal will translate into a higher subscription cost.

But the pairing creates another alternative for consumers looking to cut the cord.

Depending on how you look at it, the broader move from traditional cable TV packages to digital television makes this either a very messy time for media companies, or a very innovative one.

"It's messy and innovative," said James McQuivey, a media analyst at Forrester Research.

The companies that make and own content are experimenting with all sorts of distribution models--from Netflix to Amazon to Sony to their own dot coms.

They want to be sure to build the consumer and business relationships they'll need, once the market does start picking some winners. "They know that once the model starts to coalesce, it’s going to coalesce quickly," said McQuivey.

But all that experimentation isn’t without some risks. "ESPN and Disney are still very much invested in the traditional paid TV ecosystem," said eMarketer analyst Paul Verna. "Anything that takes viewers away from that is at some level a threat to their business."

But, the bigger risk today may be to ignore consumers who want to watch when, and where, and on the device that they want to watch on.