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NanoViricides to Participate in Panel Discussion at the B. Riley FBR Virtual Infectious Disease Summit Today, July 21, 2020 – BioSpace

Posted on July 22, 2020 by Danzig

SHELTON, CT / ACCESSWIRE / July 21, 2020 / NanoViricides, Inc. (NYSE American:NNVC) (the "Company") a global leader in the development of highly effective antiviral therapies based on a novel nanomedicines platform, today announced that Anil R. Diwan, PhD, President and Executive Chairman of the Company, will participate in the "B. Riley FBR Virtual Infectious Disease Summit - Therapeutics Day" on Tuesday, July 21, 2020. The Conference is organized by B. Riley FBR, Inc. (https://brileyfbr.com/).

Dr. Diwan is invited to participate in Panel #3 at 2020 at 2:10 p.m. ET, entitled "Taming the Severe Disease Presentations". He will briefly discuss the Company's novel nanomedicines platform and the Company's progress in the lead IND-ready candidate for the treatment of shingles rash, NV-HHV-101, as well as in developing a drug candidate against SARS-CoV-2, the cause of COVID-19 global pandemic.

The Company believes that it is close to selecting a clinical candidate worthy of advancing into human clinical trials for the treatment of SARS-CoV-2 infection, based on (i) cell culture effectiveness studies against multiple circulating coronaviruses that employ different cell surface receptors, (ii) a lethal lung infection animal model effectiveness study using hCoV-NL63 infection (a coronavirus that uses the same receptor, ACE2, as SARS-CoV-2, and produced similar disease in the animal model), and (iii) preliminary safety studies in animal model at maximum feasible dosage levels. The Company has disclosed its findings from these studies in previous press releases.

Prior to filing for human clinical trials, NanoViricides plans on conducting studies, towards clinical candidate selection, to further determine the effectiveness against SARS-CoV-2, perform additional drug development studies as may be necessary, and request a pre-IND Meeting with the US FDA for regulatory guidance.

The Company is also working with its regulatory consultants on completing an IND with the US FDA to advance its lead drug candidate NV-HHV-101 into human clinical trials for topical dermal treatment of Shingles rash as the initial indication. In particular, the Company is working on finalizing the clinical trials plan for the anticipated human clinical trials for shingles rash treatment. The Company is also in the process of finalizing clinical trial sites. This process has been adversely affected by the current global COVID-19 pandemic, and in particular, its effects across the USA.

Importantly, nanoviricides are designed to act by a novel mechanism of action, trapping the virus particle like the "Venus-fly-trap" flower does for insects. Antibodies, in contrast, only label the virus for other components of the immune system to take care of. It is well known that the immune system is not functioning properly at least in severe COVID-19 patients.

Additionally, it is well known that viruses escape antibody-drugs via mutations. The Company's "nanoviricide" drug candidates, in contrast, are designed to be broad-spectrum, and therefore virus escape by mutations is expected to be unlikely.

The market size for the treatment of shingles is estimated at approximately one billion dollars by various estimates. These estimates take into account the Shingrix vaccine as well as existing vaccines. About 500,000 to 1 million cases of shingles occur in the USA alone every year.

The market size for our immediate target drugs in the HerpeCide program is variously estimated at billions to tens of billions of dollars. The Company believes that its dermal topical cream for the treatment of shingles rash will be its first drug heading into clinical trials. The Company believes that additional topical treatment candidates in the HerpeCide program, namely, HSV-1 "cold sores" treatment, and HSV-2 "genital ulcers" treatment are expected to follow the shingles candidate into IND-enabling development and then into human clinical trials. These additional candidates are based on NV-HHV-101, thereby maximizing return on investments and shareholder value.

The Company develops its class of drugs, that we call nanoviricides, using a platform technology. This approach enables rapid development of new drugs against a number of different viruses. A nanoviricide is a "biomimetic" - it is designed to "look like" the cell surface to the virus. The nanoviricide technology enables direct attacks at multiple points on a virus particle. It is believed that such attacks would lead to the virus particle becoming ineffective at infecting cells. Antibodies in contrast attack a virus particle at only a maximum of two attachment points per antibody.

In addition, the nanoviricide technology also simultaneously enables attacking the rapid intracellular reproduction of the virus by incorporating one or more active pharmaceutical ingredients (APIs) within the core of the nanoviricide. The nanoviricide technology is the only technology in the world, to the best of our knowledge, that is capable of simultaneously (a) attacking extracellular virus to break the reinfection cycle, and (b) disrupting intracellular production of the virus, thus enabling complete control of a virus infection.

About NanoViricidesNanoViricides, Inc. (www.nanoviricides.com) is a development stage company that is creating special purpose nanomaterials for antiviral therapy. The Company's novel nanoviricide class of drug candidates are designed to specifically attack enveloped virus particles and to dismantle them. Our lead drug candidate is NV-HHV-101 with its first indication as dermal topical cream for the treatment of shingles rash. The Company is in the process of completing an IND application to the US FDA for this drug candidate. The Company cannot project an exact date for filing an IND because of its dependence on a number of external collaborators and consultants, and the effects of recent COVID-19 restrictions.

The Company is also developing drugs against a number of viral diseases including oral and genital Herpes, viral diseases of the eye including EKC and herpes keratitis, H1N1 swine flu, H5N1 bird flu, seasonal Influenza, HIV, Hepatitis C, Rabies, Dengue fever, and Ebola virus, among others. NanoViricides' platform technology and programs are based on the TheraCour nanomedicine technology of TheraCour, which TheraCour licenses from AllExcel. NanoViricides holds a worldwide exclusive perpetual license to this technology for several drugs with specific targeting mechanisms in perpetuity for the treatment of the following human viral diseases: Human Immunodeficiency Virus (HIV/AIDS), Hepatitis B Virus (HBV), Hepatitis C Virus (HCV), Rabies, Herpes Simplex Virus (HSV-1 and HSV-2), Varicella-Zoster Virus (VZV), Influenza and Asian Bird Flu Virus, Dengue viruses, Japanese Encephalitis virus, West Nile Virus and Ebola/Marburg viruses. The Company has executed a Memorandum of Understanding with TheraCour that provides a limited license for research and development for drugs against human coronaviruses. The Company intends to obtain a full license and has begun the process for the same. The Company's technology is based on broad, exclusive, sub-licensable, field licenses to drugs developed in these areas from TheraCour Pharma, Inc. The Company's business model is based on licensing technology from TheraCour Pharma Inc. for specific application verticals of specific viruses, as established at its foundation in 2005.

This press release contains forward-looking statements that reflect the Company's current expectation regarding future events. Actual events could differ materially and substantially from those projected herein and depend on a number of factors. Certain statements in this release, and other written or oral statements made by NanoViricides, Inc. are "forward-looking statements" within the meaning of Section 27A of the Securities Act of 1933 and Section 21E of the Securities Exchange Act of 1934. You should not place undue reliance on forward-looking statements since they involve known and unknown risks, uncertainties and other factors which are, in some cases, beyond the Company's control and which could, and likely will, materially affect actual results, levels of activity, performance or achievements. The Company assumes no obligation to publicly update or revise these forward-looking statements for any reason, or to update the reasons actual results could differ materially from those anticipated in these forward-looking statements, even if new information becomes available in the future. Important factors that could cause actual results to differ materially from the company's expectations include, but are not limited to, those factors that are disclosed under the heading "Risk Factors" and elsewhere in documents filed by the company from time to time with the United States Securities and Exchange Commission and other regulatory authorities. Although it is not possible to predict or identify all such factors, they may include the following: demonstration and proof of principle in preclinical trials that a nanoviricide is safe and effective; successful development of our product candidates; our ability to seek and obtain regulatory approvals, including with respect to the indications we are seeking; the successful commercialization of our product candidates; and market acceptance of our products. FDA refers to US Food and Drug Administration. IND application refers to "Investigational New Drug" application. CMC refers to "Chemistry, Manufacture, and Controls". ]

Contact:NanoViricides, Inc.info@nanoviricides.com

Public Relations Contact:MJ ClyburnTraDigital IRclyburn@tradigitalir.com

SOURCE: NanoViricides, Inc.

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NanoViricides to Participate in Panel Discussion at the B. Riley FBR Virtual Infectious Disease Summit Today, July 21, 2020 - BioSpace

How research groups are tackling the problem of biologic drug delivery – Pharmaceutical Technology

Posted on July 22, 2020 by Danzig

]]> What are the challenges to developing more convenient, oral-based biologics? Credit: Shutterstock.

Over the past few decades, the rise of biologics has been nothing short of meteoric. Between 2010 and 2017, around a quarter of the new molecular entities approved by the US Food and Drug Administration (FDA) fell into this bracket (63 out of a total of 262). That may not sound like a lot, but since biologics are much more expensive than small molecule drugs, they account for most of the worlds top-selling drugs by revenues. They also represent one of the fastest growing categories in pharma.

Unfortunately, biologics have a major downside when it comes to delivery. Unlike small molecule drugs, which can generally be taken orally, biologics are large, complex entities that degrade rapidly in the gastrointestinal tract. Weighing between 200 and 1,000 times the size of a small molecule drug, they almost always need to be delivered via injection or infusion. This is far less convenient than swallowing a pill, not to mention far more costly.

To take diabetes management as an example, most people with diabetes still rely on multiple daily injections. Inhalable insulin has been tried out (as per Exubera in 2006 and Afrezza in 2014) but both suffered with safety concerns and poor sales volume. Oral insulin the holy grail of diabetes treatment has yet to hit the market.

There are dozens of groups around the world intent on creating oral delivery methods. Some focus on modifying the drugs chemical structure to improve their stability in the body. Others focus on the epithelial barrier in the gut if you can make that more permeable, large molecules will be able to pass through more easily.

To give an example of the first approach, researchers at EFPL in Switzerland are working on a method to deliver peptides orally. In 2018, the team developed double bridged peptides a structure with much more stability than a typical amino acid chain. Unfortunately, despite this added stability, most of them still disintegrated in the digestive tract.

Since then, the researchers have found a way to trawl through a peptide library (billions of random peptide sequences, twisted into the double bridged format) to identify the ones that actually are stable. After they have isolated the surviving candidates, they do further tests to find the ones that bind to the disease target.

Its a bit like searching for a needle in a haystack, and this method makes this easy, said Professor Christian Heinis, the lead researcher.

An example of the latter approach comes from Israeli biotech Chiasma. Its Transient Permeability Enhancer (TPE) aims to protect drug molecules from digestive enzymes, as well as triggering the temporary expansion of tight spaces in that gut barrier.

This gives just enough space for the drug molecule to pass into the bloodstream, but not enough space for viruses and bacteria. Last year, the company completed a phase III trial on oral capsules called Mycapssa, which could be used as a maintenance treatment for acromegaly.

There are also a number of oral delivery approaches involving nanoparticles. As the thinking goes: if you incorporate the drug into tiny transporting particles, those particles will be able to protect it from stomach acid, as well as accurately targeting its delivery.

Researchers at Houston Methodist Research Institute in Texas are trialling one such approach, in which a peptide-based drug is chemically linked to fatty acids, and packaged in a nanoparticle. In mouse studies, the animals absorbed almost a quarter of the drug dosage (a lot, considering the typical oral bioavailability for a biologic stands at around 1%).

We know the human body can absorb fatty acids, so we decided to chemically link biological drug molecules to fatty acids to see how well these drugs are absorbed into the gastrointestinal system. It turns out that our transporter approach was effective, saidDr Haifa Shen, Professor of Nanomedicine at Houston Methodist.

Nanotechnology could have many further applications within drug delivery. In particular, it could be used for delivering drugs across the blood-brain barrier, a network of blood vessels that functions a bit like neurological armour. While this barrier protects the brain from harmful chemicals, it also prevents therapeutic agents from getting through.

Researchers at Cedars-Sinai Medical Center in California are working on a new type of nano-immunotherapy, which could deliver cancer drugs directly into brain tumours. Again, they are at an early stage of research, but mouse studies have shown promising results.

Current clinically proven methods of brain cancer immunotherapy do not ensure that therapeutic drugs cross the blood-brain barrier, said Dr Julia Ljubimova, Professor of Neurosurgery and Biomedical Sciences at Cedars-Sinai. Although our findings were not made in humans, they bring us closer to developing a treatment that might effectively attack brain tumours with systematic drug administration.

Another exciting research avenue is microneedles. The promise is clear a minimally invasive, painless technique that could deliver the drug through the skin.

One example is a smart, adhesive insulin-delivery patch, being developed by bioengineers at UCLA. The patch, which is adhesive and resembles a sticking plaster, is pre-loaded with insulin and releases the medicine once blood sugar levels exceed a certain threshold. The technology has been accepted into the FDAs Emerging Technology Program, and human trials could start within the next few years.

US biotech Rani Therapeutics is combining both approaches microneedles and oral biologics delivery with its so-called robotic pill. This capsule, which could be used to deliver a number of biologics, moves through the stomach intact, before reaching the desired location in the gut. Here, it releases biodegradable microneedles, which inject the biologic.

This delivery system is still at an early stage of development, but in preclinical tests it performed as well as a subcutaneous injection. The company also has one human trial to its name a phase I trial for a drug called octreotide, which is normally injected intravenously.

While these research groups, and many others, are seeing promising results in the lab and early trials, it remains to be seen which new delivery methods will become a clinical reality. Given the challenges associated with existing delivery methods, and the seemingly unstoppable rise of biologics, there is everything to play for.

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Evolution Gaming Reports Positive H1 2020 Results European Gaming Industry News – European Gaming Industry News

Posted on July 22, 2020 by Danzig

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Evolution Gaming has reported positive H1 2020 results. The companys operating revenue increased 48% year-on-year to 243.5 million during H1.

EBITDA also increased by 85% to 145.3 million, corresponding to a margin of 59.7% (47,7), while profit for the period amounted to 124,6 million (63,1) and earnings per share amounted to 0.69 (0.35).

During the second quarter, operating revenues increased by 50% to 128.3 million (85,7), EBITDA increased by 90% to 81,1 million (42,7), corresponding to a margin of 63,2% (49,8). Profit for the period amounted to 70,4 million (34,5) and earnings per share amounted to 0.39 (0.19).

Evolution CEO Martin Carlesund said: The strong development for Evolution continued during the second quarter. The quarter has been eventful with several product launches and a very high demand, partly due to the lack of sports betting games through a large part of the period, but we also see strong underlying growth. At the end of June, we announced a recommended offer to the shareholders of NetEnt with the aim to expand Evolutions offering with market-leading slots and to continue towards our vision to become the global leading provider of online casino.

Revenues for the second quarter amounted to EUR 128.3 million (85.7), an increase of 50 percent compared to the corresponding period last year. EBITDA amounted to EUR 81.1 (42.7) with a margin of 63 percent. The margin has been positively affected by high demand and that we have operated fewer tables due to the pandemic. However, the lower number of tables has had a negative effect on revenue both through lower fees from our dedicated environments and through lower capacity than normal. For the January-June period, the margin was 60 percent, meaning we have a good distance to our previous prediction of improving the margin level this year compared to 2019.

Evolutions vision is to become the leading B2B provider in online casino. An acquisition of NetEnt means that we can accelerate the pace towards this vision. To add NetEnts leading slots to Evolutions strong Live Casino offering will create a very strong market position significantly faster, especially in the USA, and together with clear synergies we believe this to be a strategic and highly attractive acquisition. A future Evolution with two verticals as the foundation will increase cash flow and reduce risk, while the growth potential increases. The bid process continues according to the previously announced time schedule.

During 2020, Evolution has continued and strengthened its focus on products and innovation. Our ability to develop new unique games while at the same time creating new variants of traditional games is important to further strengthen our leading position in Live Casino. So far, we have launched 8 out of the 12 games that we will launch this year. After the end of the quarter, we launched another one Crazy Time which is the most expensive and time-consuming game that we have developed to date. The reactions were instant, and we are overwhelmed by the positive reception among both players and operators.

All new titles, especially in the Game Show category, contribute to a generally higher interest in Live Casino. To meet the increasing demand, it is vital that we continue to expand our studio capacity. Our Pennsylvania studio will be our 9th studio. Upcoming additions include a studio in Michigan and an English speaking studio in Lithuania.

During the quarter we signed an agreement with Golden Nugget that will see Evolutions US Live Casino services to be added to their existing online offering in New Jersey. The agreement consolidates Evolutions leading position in New Jersey, while also providing a strategic platform to explore additional opportunities together with Golden Nugget in other states as the regulation of online casino in the USA continues.

It has been an intense first half of the year impacted by Covid-19, which has entailed here-and-now problem solving. Since a few months back, we have a more stable virus situation and we have been able to devote more time to look forward while also preparing Evolution for a possible future second wave or similar pandemics. We are now working intensively with next years product launches and how Evolution will play a role in the continued digitalisation of the casino industry. I believe that our focus on the best game experiences and a relentless approach to always improve as a company will continue to be important pieces as we move ahead. We shall become slightly better each day, and every day shall take Evolution another step forward.

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Republican State Board of Education candidates on the issues: Teaching evolution in schools – Shawnee Mission Post

Posted on July 22, 2020 by Danzig

Last month, we asked our readers what issues they wanted to hear the candidates running for office address ahead of this summers primary elections. Based on the input we received, we developed three-item questionnaire for Republican candidates running for the Kansas State Board of Education.

Well be publishing the candidates responses to one item per day each day this week. Today were publishing the candidates responses to item three:

Should evolution be taught in Kansas public schools? Why or why not?

Evolution should be taught in Kansas public schools. Understanding evolution is a critical part of preparing students for the scientific challenges that await them. We need look no further than the current COVID pandemic to underscore the need for future scientists and researchers.

Issues of creationism and evolution have a rich and interesting history with the Kansas State Board of Education. However, the controversy of this topic has lessened as more of us understand that evolution and religion are not mutually exclusive. It is a false dichotomy to suggest those who teach and support evolution in public education are not faith-based people. In fact, when I talk with my colleagues in the science division at JCCC, the majority are people of faith, holding strong religious beliefs and values. It is of the utmost importance that we prepare Kansas students in the STEM areas (science, technology, engineering, and mathematics) and that they be prepared for post-secondary education as well as for jobs in the marketplace. That cannot happen without a foundational understanding of the natural world around them. Furthermore, removing the teaching of evidence-based science in the public school classroom will negatively impact our ability to attract and retain skilled workers and businesses.

Did not respond.

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Republican State Board of Education candidates on the issues: Teaching evolution in schools - Shawnee Mission Post

The evolution of how Marvel animated Iron Man – Insider – INSIDER

Posted on July 22, 2020 by Danzig

Following is a transcript of the video.

Narrator: If you look at Iron Man's first suit, the Mark 1, and compare it to the hero's nanotech suit from "Avengers: Endgame," a lot has changed.

But it's not just the technology in the world of the MCU. Animation tech has evolved in our world, the real world, to make this suit possible on the big screen, something that Marvel couldn't have dreamed of creating just 11 years earlier.

To get from here to here required a decade of innovation, 10 Marvel movies, and a lot of work on movies with no superhero in sight.

Let's start where Tony Stark's story began: in that cave in 2008's "Iron Man." In this scene, Tony Stark is a man in a giant metal suit trying to escape a cave. So what better way to make it seem real than by using a real man in a real metal suit?

"Iron Man" director Jon Favreau is known for pushing the envelope with his projects like "The Lion King" and "The Mandalorian." But back then, he wasn't confident that CGI could convincingly create a full Iron Man suit. So they went practical. For that first bulky cave suit, he enlisted the help of the legendary Stan Winston Studio, now called Legacy Effects, to make this 90-pound version of the Mark 1 with epoxy armor shells, flexible urethane, leather, and aluminum. And for the project, Winston's team perfected a metallic chrome paint that would be used for other projects years down the road.

But the film had to rely on CGI for this section of the scene, because the practical suit was just too large for either Robert Downey Jr. or his stunt double to move around in. That left the challenge of creating the first digital Iron Man suit audiences would see up to The Embassy in Vancouver.

Their accomplishment wouldn't have been possible without the practical work from Stan Winston's studio. They modeled the digital suit closely after the real suit, even going so far as getting pieces of that real suit flown to Canada for reference. The digital version was so detailed that it even captures these text markings and textures.

And to create a realistic metallic reflection, The Embassy used the knowledge they learned from working on car commercials to influence how they shaded the digital version of the suit.

Winston Helgason: We learned a lot about car paint, about clear coat, how light plays on cars, how they react to their environment, which, they're essentially mirrors of their environment.

Narrator: But that was just the Mark 1. The Mark 2 would have to be sleeker and more refined and have a polished coat that would accurately reflect light like the night sky in this scene.

Once again, Favreau had Stan Winston create a real version of this suit, but what you're looking at here is completely computer generated. Just like with the Mark 1, FX studio Industrial Light & Magic, ILM for short, used that practical version of the suit as the basis for its digital version. ILM was so successful that when Favreau saw it, he couldn't tell the difference between the real and the fake.

Ben Snow: And we showed it to Jon and the Marvel team, and they're like, "OK, well, which bits did you replace?" And we're like, "Actually, we replaced all of it." [laughs]

Narrator: Without this early work in the first "Iron Man," which convinced the filmmakers and the world of what VFX could do, the wild world of Marvel as we know it might not exist.

Thor: No! [exploding]

Narrator: But the true test of the CGI would come with the Mark 3, Iron Man's most recognizable look. This had to be perfect for the film to work and resonate with fans. ILM wanted to prove both that they could make the CGI character move the right way and that his metal armor matched the personality of Tony Stark.

ILM had worked with shiny car surfaces in 2007's "Transformers," which ultimately helped them nail down the outer layer of the Mark 3. They made the suit look more like a glossy sports car than industrial metal, as Marvel initially planned.

Ben: We ended up saying, you know what? It's Tony Stark. He's a playboy. You know, he's rich. He's not gonna have an industrial-forklift-type suit. He's gonna want a sports-car suit.

Narrator: The basic design was based on Marvel comic-book artist Adi Granov's Iron Man illustrations. But one of the biggest challenges with replicating this 2D suit in real life was that the comic version was designed with heroic proportions that don't match real human beings. So they tweaked the model to be shaped as if a real human being were inside, something they would later decide to change.

Ben: But when it came to Iron Man, we tried to be very, like, oh, no, a real guy could fit in this suit, and the real mechanism between the suit and the guy is there. Now, the guy would have to be extremely thin to really fit into it.

Narrator: At the onset of "Iron Man 2," motion-capture technology had really advanced, which made it possible for them to use a combination of practical and CGI suits.

Various practical versions of the Mark 3 suit were built by Stan Winston's team, which could be worn in pieces based on which parts of Robert Downey Jr. were seen on camera at the time. The rest of his body was often covered in a motion-capture suit, which would be filled in later with CG suit pieces. This would help his performance, since he didn't have to struggle under the bulk and weight of the full suit.

ILM used its custom motion-capture technology, called IMoCap, which they had fine-tuned in 2003's "Pirates of the Caribbean," to animate the CG parts of the suit. Since Robert Downey Jr.'s head wasn't animated, it had to match up perfectly, or else it would look wobbly and disjointed.

In several of the films, Robert Downey Jr. often just wore these shoulder pads, or what they called a football suit. These shots required a lot of CGI cleanup on the spaces in between, like his neck and joints.

VFX artists really advanced the motion tracking in "Iron Man 2," and you can see a good example of that here in this Japanese garden scene. The actors only wore partial helmets and tracking suits. The rest of their suits are CGI. And in this particular scene, ILM didn't even need to use a tracking suit at all. They built the CGI suit right around Robert Downey Jr., who was only wearing a tuxedo.

This took a lot of time and effort to get right, but it ultimately set the bar for future films in terms of what they could animate without mo-cap suits.

Another major improvement from the first film in "Iron Man 2" was the shading, or how the suit was lit. ILM started using image-based lighting tools they developed from their work on 2009's "Terminator Salvation" to light the suit and make it look more realistic. This process involved taking high-res pictures of the environment and using those as a guide to more accurately and easily light the suit. This ultimately helped Iron Man look even better, allowing them more time to focus on the finer details.

Ben: It meant that we were able to speed up our process and spend a lot more time making things creatively look good instead of, you know, just like, oh, is it even looking real or not?

Narrator: Not only did the animation evolve as the VFX technology advanced, but each new film also posed new challenges for animators based on the story. For instance, when it came to 2012's "The Avengers," it was the script that pushed how the character would be designed and animated. Instead of hand thrusters, Iron Man would get a rocket pack attached to the back of his suit, which allowed the design team leeway to develop new poses for the character while freeing up the hero's hands.

Or take a look at this sequence, known internally as the car-wash scene. Because of this brand new way Marvel writers envisioned how Tony's suit would attach to him, animators for the first time had to figure out how the inside of Iron Man's suit would function, which none of the VFX studios Marvel worked with had to think much about before.

Jeff White: We had to build a lot of new interior pieces, kind of figure out, like, what the interior tech of the suit would look like as it joined together.

Narrator: This was particularly challenging, since he's walking the entire time while de-suiting, a first in the series. ILM had to create models for each piece of the suit and track them individually with his movement.

And take a look at this battle scene with Thor in the mountaintop. Notice all of the blue light? The minor detail caused a major headache with animators at Weta Digital when it came to coloring Iron Man's suit.

Marvel maintains a strict color bible, which keeps track of the exact hues that are supposed to be used across the various films. The brushed-gold surface here was based on Weta Digital's work on the One Ring in "Lord of the Rings," and they were able to recreate this color fairly easily. But the red, on the other hand...

Guy Williams: It's actually a red clear coat, which means that the red pigment itself actually has density. And on top of that, there's actually little metal shavings suspended in that dense paint.

Narrator: Which can cause problems when you mix in light from the environment. In this case, the red and blue made purple.

Guy: You know, one of the first things we ran into back then was that you take a suit like that and put a blue light on it, and it starts to give you weird colors. It starts to wanna go really burgundy, you know, sort of a mulberry color very fast.

Narrator: Balancing the color would end up being much easier and faster in the later films, as Weta developed new advanced rendering technology that worked with various wavelengths of light. And this, as was the case with ILM and its shading technology, would make the suit look better overall.

Guy: We spent a lot of time trying to make that car paint look just that little bit cooler or trying to make the lighting work a little bit better, and not just trying to get rid of weird shadows or weird colors.

Narrator: While the earlier films mostly focused on the movements of one individual suit, "Iron Man 3" introduced a whole slew of new suits, about 20 in a single scene that each had to be animated in different ways.

Typically, to animate Iron Man, they would use what's called a puppet. And there's a limited number of ways this puppet can move. So Weta developed new tools for its animators to use to alter the rig of the puppet to increase the freedom of movement so each suit could have more character and style.

Guy: We rejigged the entire process to allow the animator to go in and take the high-resolution suit and just, you know, like with an X-Acto knife, he cut on different planes, and cut different parts of it out and put hinges on them on the fly, so that he could actually, you know, the animator could define how the suit grew.

Narrator: One of the challenges that comes with more freedom of movement, however, is making sure Iron Man's metal plates don't run into each other and figuring out where all the pieces go when he does a simple motion like raising his arm.

Alexis Wajsbrot: I think the main challenge we had on "Iron Man 3" was the shoulders. He had huge, huge shoulder pad.

Narrator: But it wasn't just these major battle scenes that were difficult. They often had to also spend time figuring out how he moved in more mundane scenarios. We saw for the first time in "Iron Man 3" scenes where he is doing these very non-heroic actions, like giving a massage or simply sitting on a couch. It's easier to hide any errors and subtleties in a cloud of dust or debris, according to ILM. When he isn't fighting someone, every detail is right out there in the open.

"Iron Man 3" also had Tony Stark reacting and performing along with the suit assembly for the first time, a step up from the walking car-wash scene in "The Avengers," as Marvel wanted an even more advanced look to the tech. This was especially difficult, according to VFX studio Trixter, since they had to combine rigid metal pieces and flexible human body parts while making it all look seamless. 24 separate parts were first disguised as what Trixter calls "amorphous, mystery slick pieces of technology, alien to any distinguishable suit parts." Each would then transform into the familiar suit pieces as they flew towards him.

As the series evolved from using practical effects in "Iron Man" to a mix of practical and CGI to mostly CGI in later films, suddenly the suit, which was originally tweaked to be more human, would now be tweaked to be more heroic again. We first saw subtle changes in "The Avengers" with his legs.

Guy: Little, little fact that a lot of people probably don't know: Iron Man's legs are longer than a human's legs.

Narrator: His ankle would also have to be a mere inch and a half across inside the suit. Iron Man was also slimmed down a bit in "Avengers: Age of Ultron" to give him more of a comic superhero silhouette.

Ben: A slightly tighter waist. That sort of thing. A little beefy around the shoulders.

Narrator: But the suit evolved yet again in the last two films, forcing the animators to evolve as well and take a whole different approach to how the suit would build and move. Tony Stark was now using nanotechnology, so instead of moving around and tracking solid pieces like they did with the car-wash scene and the scene in his workshop, they had to establish a whole new process for his suit assembly.

Nanotech involves multiple layers of simulations. A liquid-metal simulation would morph to the target shape, because they wanted the transformation to feel organic. But they had to make sure it still felt rigid and that it did not stretch like Spider-Man's suit would. The animators relied on accurate shading, a technique used throughout the franchise, to accomplish this.

Sean Walker: The main visual trickery is that through the shading, we, it looked like metal every single time.

Narrator: Robert Downey Jr. reportedly came up with the idea of having Tony Stark's sweat suit tighten before the armor shell appears, similar to Spider-Man's suit, which you can see here. Because it would be difficult for the material to form a shell around loose clothing. If you look closely, octagonal shapes attach together to form the outer layer, while an inner layer of tech and circuitry builds beneath it.

Framestore actually created this multilayer effect using animation tools from its work on 2015's "Poltergeist."

For "Endgame," this nanotech suit evolved slightly to be a bit more rigid, with pieces locking into place, more like the suit we saw in "Captain America: Civil War."

Sean: We took the lessons that we learned from "Infinity War" and applied it to "Endgame." So it was the same technology really, but we just had a better handle on it, really.

Narrator: While Iron Man's death was the last time we would see the nanotech suit, this wouldn't be the last time we saw Iron Man, as Marvel's innovation continued for his one final cameo in "Spider-Man: Far From Home."

This suit was also created by Framestore, and it was actually based on the suit in "Captain America: Civil War" because it was more solid looking than the nanotech suit in "Avengers: Endgame."

To make this suit, they took the same "Civil War" model and literally broke it down, destroyed it, and created the insides, which consisted of various wires and circuit boards, using an early scene in "Age of Ultron" as inspiration.

There's more detail in the top half of the suit because more of that is shown up-close on camera. And to achieve the undead look, first they added the signature metallic sheen of Iron Man, and then they added the layers of dirt and rust.

Alexis: To be fair, the suit is almost not recognizable by the end of the process.

Narrator: So after 11 years of development to perfect Iron Man's CGI suit, it ultimately was destroyed.

By using advancements in 3D-modeling and motion tracking, experimenting with new lighting techniques, and using realistic-looking practical models as a base, they were able to create something that continually felt fresh, futuristic, and real as it evolved in the story.

Guy: It wasn't like anybody had thought that a person could wear a suit of powered armor and it would look anything other than like a guy in old knight armor wobbling around on a set. He's so crafted on so many levels. There's so much thought that goes into every little panel that moves, that you're intrigued, and you're compelled to keep watching him and find out what's gonna happen.

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The evolution of how Marvel animated Iron Man - Insider - INSIDER

Random Meditations Through Her 1000 Names (XVII): The Eyebrows Which Trigger Evolution And Involution Of Worlds – Swarajya

Posted on July 22, 2020 by Danzig

As the form of the Goddess arises in the inner fire pit of the yogi, her eyebrows become visible. Sri Lalita Sahasranama calls her eyebrows the gateway arches to the house of Kamaraja - the lord of kama: Vadanasmara-mangalya-grihatoranachillika.

The term used to describe the eyebrows of the Goddess is torana. Torana is etymologically 'tura-tvarana - a transitional passing from one space to another - a gateway.

Here, when Kama does auspicious activities then the eyebrows of the Goddess becomes the gateway for his household.

Throughout Sri Lalita Sahasranama, there is an emphasis on Kamadeva. The very foundational Puranic context of Sri Lalita marrying Shiva as Kameshwara, and fighting against Bhandasura, assumes significance here.

Bhandasura himself was born of the ashes of Kama when Shiva burnt the deva of desire with his third eye. It would be the graceful eyes of the Goddess that would resurrect the burnt Kama.

As Anna Subramaniyam states - the desire towards the lower aspects gets burnt by Shiva. The desire for liberation then resurrects by the grace of the Goddess.

So, when Sri Lalita Sahasranama speaks of kama, it provides meaning not only at the level of poetic aesthetics but also at cosmological level and at the plane of inner yogic-psychology.

Her face arouses the desire of Shiva. That is auspicious for all existence. And in arousing that divine desire of Shiva, it is the face that is the field of operation for Kamadeva. Then, her eyebrows become the torana - the arches signifying the gateway.

This Puranic, poetic description also contains in it another significant dimension related to the very existence of all the universes. The famous Nasadiya Sukta of Rig Veda (X.129) points to the primal role of Kama in creation :

"That seed primordial born of the Mind, That Desire then arose in the beginning. The wise seers searching their hearts through intuition realized that the relation between that which is and which is not".

The importance of this kama and the development of this aspect throughout the Puranic lore of Sanatana Dharma is brought out clearly by Stella Kramrisch, one of those rare Western Indologists from the Coomaraswamy-Tagore school of Hindu studies :

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Random Meditations Through Her 1000 Names (XVII): The Eyebrows Which Trigger Evolution And Involution Of Worlds - Swarajya

The ‘real stumbling block’ in Arsenal’s evolution is there to see – Football365.com

Posted on July 22, 2020 by Danzig

Its always like this. When a new cycle begins, theres always this betwixt and between period when a team teases its future. Arsenal are there at the moment. Theyre in a something good, something bad world, with two fantastic performances against Liverpool and Manchester City to follow that bizarre loss to Tottenham, and now another ugly setback.

At Villa Park they reverted. The kind way to describe the Trezeguets goal which won the game would be to praise the strike. The fairer observation, however, would be to note how he was able to loiter alone at the back of the box. And then how easily the ball reached him. And then just how much time and space he had to volley his side into a lead that they would never really look like losing.

It was dispiriting in being such an obvious step back. Arsenal defended outstandingly well at Wembley. They had this defiant spirit to them in the FA Cup semi-final a palpable determination not to allow their concentration to waiver. On Tuesday night, that new resolve seemed like it had been illusory. The mistakes were back, so were the gaps and the chances given up.

But this is the way of things and it probably will be for a while. That isnt to say that a brighter dawn is definitely on its way, but that those clubs that have been led into a new era have always suffered through this kind of scenario to get there. Pochettinos Spurs, Guardiolas City, Klopps Liverpool; read through the early chapters of those tales to find the same inconsistency and the same calls back to what made revolution necessary in the first place.

Generally speaking, thats been because those coaches didnt just inherit a muddle on the pitch, but imbalanced squads with critical shortages. On this evidence, Arteta is very much in the same position.

Stylistically, this was a different challenge to the previous two games. Being able to sit deep and snap onto the counter-attack is a virtue, but trying to break down a more cautious opponent is another matter entirely. As during that game at White Hart Lane, Arsenal played with plenty of the ball 64% in the first half but without really creating opportunities. Or even situations from which opportunities may develop.

Its suggestive of where they are in their evolution. The improvements that Arteta has instituted are still dependent on certain conditions to be relevant, and thats because he remains short of the players needed to cure that problem. Arsenal have pace up front and in wide positions, but they still lack credible balance in midfield and, as this evening showed, their defenders can only be relied upon when the mood takes them. Theyre an attractive team round the edges, but brittle and limited where it counts.

That showed tonight in a few different ways. Firstly, in Villa looking more dangerous than they have for many, many weeks. Secondly, in Jack Grealish doing more or less as he wished with the ball at his feet and giving his best performance of 2020. And, finally, in Arteta being able to send out Pierre-Emerick Aubameyang, Alexandre Lacazette and later Nicolas Pepe against the Premier Leagues second-worst defence statistically, but not getting a shot on target in return.

Its instructive, because that tranche of issues shows where the problems lie. Most importantly, it demonstrates how little creativity there is in this side. For all their hold on possession, in the absence of Mesut Ozil there isnt an Arsenal player capable of using it to find a clever angle or a dangerous pass.

That doesnt seem like a coaching point, either. Its not a problem which can be cured on the training ground or by convincing players to think or act in a different way. Instead, it requires a different set of attributes. Either Arsenal import someone capable of unlocking the heavy doors in a low block, or Artetas improvements are going to be limited in their effect. The passing will have a certain rhythm, but it wont necessarily go anywhere.

The defence is the defence and the midfield is the midfield. Those are tired issues which have needed a solution for years. But the lack of a playmaker will be the real stumbling block here; if it continues to be so, it will also separate what Arsenal are from what Arteta is trying to turn them into. And what a waste that would be.

There are excuses, because Saturdays game was probably a draining experience and Arsenal rotated in response to that. This was also an excellent, committed Villa performance which got what it deserved and was long overdue. Dean Smith got his approach right and among others Grealish, Mings and Douglas Luiz were all excellent.

Still, in the subtext lies a pre-emptive message for those above and around Arteta: either hes given what he needs to convert this early promise to something more permanent, or these types of evenings will become more common.

Seb Stafford-Bloor is on Twitter

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The 'real stumbling block' in Arsenal's evolution is there to see - Football365.com

E-Glass Fiber Market Predicted to Witness Sustainable Evolution in Years to Come – Owned

Posted on July 22, 2020 by Danzig

Keep yourself up-to-date with latest market trends and maintain a competitive edge by sizing up with available business opportunity in Global E-Glass Fiber Market various segments and emerging territory with 100+ market data Tables, Pie Chat, Graphs & Figures. The research report presents a comprehensive assessment of the Global E-Glass Fiber Market and contains thoughtful insights, facts, historical data, and statistically supported and industry validated market data. It also contains projections using a suitable set of assumptions and methodologies. The research report provides analysis and information according to categories such as market segments, geographies, type of product and deal landscapes.

Some are the key players taken under coverage for this study is:

Owens Corning (United States),Jushi Group (China),PPG Industries (United States),CPIC (United States),Fiberglass (Sinoma) (China),Advanced Glassfiber Yarns (United States),Binani-3B (Belgium),Johns Mansville (United States),Nippon Electric Glass (Japan),Nittobo (Japan),Saint-Gobain Vetrotex (South Korea)

Free Sample Report + All Related Graphs & Charts @ https://www.advancemarketanalytics.com/sample-report/56407-global-e-glass-fiber-market

Definition:

E-glass fiber, also known as electrical glass, is a glass fiber reinforced plastic which made up of different types of glass mostly with alumina-calcium borosilicates. It is a good insulator of electricity and one of the most used in the fiber reinforced polymer composite industry. The demand for e-glass fiber is continuously rising in construction as well as automotive industry which led to rise in its market share globally.

Recent Development in Global E-Glass Fiber Market:

Important Features that are under offering & key highlights of the report:

1) How Study Have Considered the Impact of COVID-19 / Economic Slowdown of 2020?

Analyst at AMA are constantly gathering and conducting survey with opinion leaders and Industry experts from various region to minutely understand impact on growth as well as local reforms to evaluate study and market estimates. Due to lockdown different online medium and procedures are followed like Survey Monkey, LinkedIn Connections, and Email reach and industry forum to established industry viewpoint to garner rich insights for study. A special chapter in the study presents Impact Analysis of COVID-19 on Global E-Glass Fiber Market along with tables and graphs related to various country and segments showcasing impact on growth trends.

2) Can list of players be customizing according to targeted regional geographies to match business objective?

Considering heat map analysis and based on market buzz or voice the profiled list of companies in the report. Yes, further list of players can also be customized as per your requirement keeping in mind your areas of interest and adding local emerging players and leaders from targeted geography.

** List of companies covered may vary in the final report subject to Name Change / Merger & Acquisition Activity etc. based on the difficulty of survey since data availability needs to be confirmed by research team especially in case of privately held company. Up to 2 players can be added at no additional cost.

3) Can Market be broken down by different set of application and types?

Additional segmentation / Market breakdown is possible subject to data availability, feasibility and depending upon timeline and toughness of survey. However a detailed requirement needs to be prepared before making any final confirmation.

** 3+ Additional country of your interest can be included at no added cost feasibility test would be conducted by Analyst team of AMA based on the requirement shared and accordingly deliverable time will also be disclosed.

Enquire for customization in Report @ https://www.advancemarketanalytics.com/enquiry-before-buy/56407-global-e-glass-fiber-market

Market Drivers:

Market Trends:

Market Challenges

Market Restraints:

Market Opportunities:

Get Reasonable Discount on This Premium Report @ https://www.advancemarketanalytics.com/request-discount/56407-global-e-glass-fiber-market

Major Highlights of TOC:

Chapter One: Market Overview

Chapter Two: Executive Summary - Free of Cost

Chapter Three: Market Dynamics USD1000

Market Drivers, Market Challenges, Market Trends, Restraints & Opportunities, Post Covid Scenario

Chapter Four: Market Factor Analysis USD400

Supply/Value Chain, Porters Five Forces, PESTEL analysis, Market Entropy, Patent & Trademark Analysis, Bargain Power

Chapter Five: Global E-Glass Fiber, by Market Segmentation and Geography (value, volume**) (2014-2020) USD1400

Global E-Glass Fiber Regional Analysis:

North America (United States, Canada and Mexico)

Europe (Germany, France, United Kingdom, Spain, Italy, Netherlands, Switzerland, Nordic, Others)

Asia-Pacific (Japan, China, Australia, India, Taiwan, South Korea, Middle East & Africa, Others)

Chapter Six: Global E-Glass Fiber Manufacturers/Players Analysis USD1200

Competitive Landscape, Comparative Market Share Analysis (2018-2019), Peer Group Analysis (2019), BCG Matrix, Company Profile, Product/Service Offering Matrix

Chapter Seven: Global E-Glass Fiber, by Market Segmentation and Region (value, volume**) (2020-2027) USD1400

Sections same as Chapter Five

Chapter Eight: Company profiles / Competitive Landscape [12 Players] USD1250

Chapter Nine: Methodology/Research Approach, Data Source, Disclaimer

** If applicable

Data Sources & Methodology

The primary sources involve the industry experts from the Global E-Glass Fiber Market including the management organizations, processing organizations, analytics service providers of the industrys value chain. All primary sources were interviewed to gather and authenticate qualitative & quantitative information and determine the future prospects.

In the extensive primary research process undertaken for this study, the primary sources Postal Surveys, telephone, Online & Face-to-Face Survey were considered to obtain and verify both qualitative and quantitative aspects of this research study. When it comes to secondary sources Companys Annual reports, press Releases, Websites, Investor Presentation, Conference Call transcripts, Webinar, Journals, Regulators, National Customs and Industry Associations were given primary weightage.

Actual Numbers & In-Depth Analysis, Business opportunities, Market Size Estimation Available in Full Report.

AMA also offers Custom Research services providing focused, comprehensive and tailored research according to clientele objectives. Thanks for reading this article; you can also get individual chapter wise section or region wise report like North America, Europe or Asia.

About Author:

Advance Market Analytics is Global leaders of Market Research Industry provides the quantified B2B research to Fortune 500 companies on high growth emerging opportunities which will impact more than 80% of worldwide companies revenues.

Our Analyst is tracking high growth study with detailed statistical and in-depth analysis of market trends & dynamics that provide a complete overview of the industry. We follow an extensive research methodology coupled with critical insights related industry factors and market forces to generate the best value for our clients. We Provides reliable primary and secondary data sources, our analysts and consultants derive informative and usable data suited for our clients business needs. The research study enable clients to meet varied market objectives a from global footprint expansion to supply chain optimization and from competitor profiling to M&As.

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E-Glass Fiber Market Predicted to Witness Sustainable Evolution in Years to Come - Owned

Evolution Of Law For Protecting The Rights Of The Secured Lenders Journey From Suit Proceedings To Corporate Insolvency Resolution Process -…

Posted on July 22, 2020 by Danzig

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Prior to the advent of the Recovery of Debts Due to Banks andFinancial Institutions Act, 1993 (RDDB&FI Act), now known asRecovery of Debts and Bankruptcy Act (RDB Act'), theonly remedy available to a creditor was to approach a civil courtfor recovery of its dues and for enforcement of security. Suchcivil proceedings were either in the nature of an ordinary suit ora summary suit or a mortgage suit, as the case maybe. With an everincreasing burden of cases before the civil courts, a need was feltto introduce a law that would come to the rescue of Banks andFinancial Institutions to ensure disposal of lenders' casesexpeditiously by a Tribunal exclusively dealing with such matters.The Narasimham Committee deemed it essential to introduce andformulate specialized Tribunals for recoveries of debts due toBanks and Financial Institutions. The Committee recommended thatestablishment of specialized Tribunals is vital to the successfulimplementation of the financial sector reforms. The NarasimhamCommittee Report was further strengthened by the recommendationsmade by the Tiwari Committee Report, which also recommended theestablishment of specialized Tribunals. In view of theaforementioned reports, the RDDB&FI Act was promulgated in theyear 1993.

The RDDB&FI Act was introduced as a measure for expeditiousadjudication and recovery of debts due to Banks and FinancialInstitutions. With the introduction of the said Act, it wasbelieved that the huge pendency of the cases filed on behalf ofBanks and Financial Institutions will be tackled effectively. Itwas also assumed that secured creditors will be able to realizetheir debts by sale of assets charged by the Borrowers to the Banksand Financial Institutions. However, soon it was realized by thelaw-makers that the RDDB&FI Act did not prove to be very usefulfor the secured creditors in so far as taking over physicalpossession of a mortgaged asset and its sale, were not specificallyprovided for in the RDDB&FI Act. The procedure to be adoptedfor possession and sale of a secured asset related back to theprovisions of the Transfer of Property Act, 18821 (TPA')and thus, did not aid the cause of the secured creditors.

Accordingly, the Securitisation and Reconstruction of FinancialAssets and Enforcement of Security Interest Act, 2002(SARFAESI Act') came to be introduced. The SARFAESIAct aimed at providing measures to Banks and Financial Institutionsto take over the possession and management of a secured assetwithout intervention of a court of law. The provisions of theSARFAESI Act aimed at realizing long-term assets, manage problem ofliquidity, asset liability mismatches and to improve recovery byexercising powers to take possession of securities, sell the sameand to reduce non-performing assets by adopting measures forrecovery or reconstruction.

As the SARFAESI Act came for the direct benefit of the securedcreditor, the vires of the Act came to be challenged2 on thegrounds that the Act allows the Banks/ Financial Institutions toact in an arbitrary and unfair manner. However, the Hon'bleSupreme Court of India upheld the validity of the SARFAESI Act andexplained that the Act provides for issuance of a statutorynotice3 which provides for a time frame tothe borrower/ guarantor to respond and raise objections to themeasures proposed by the Bank/ Financial Institution. The SupremeCourt also observed that it is mandatory for a Bank/ FinancialInstitution to deal4 with the response/ objections ofthe borrower/ guarantor before proceeding ahead. Thus, a borrower/guarantor gets reasonable opportunity to raise objections. Further,Section 17 of the SARFAESI Act also empowers a borrower/ guarantor/any other aggrieved person to approach the concerned DRTchallenging the action of the Bank/ Financial Institution. Thus,there is no scope of arbitrariness. The Supreme Court also heldthat classification of an account as a non-performing asset is noton the whims and fancies of the Bank/ Financial Institution andthat there is a proper mechanism in place for the same.

In view of the aforementioned scenario and law, it becameabundantly clear that for a Bank/ Financial Institution there aretwo mechanisms - Firstly, by way of initiating proceedings foradjudication of debt and recovery of debt under the provisions ofthe RDDB&FI Act and secondly, by way of enforcing the securityinterest under the provisions of the SARFAESI Act. With theavailability of these two measures came another question, i.e.,whether a Bank/Financial Institution could take measures under theprovision of both the Acts simultaneously. The issue was answeredby the Hon'ble Supreme Court in the affirmative5. Thus,it can be easily stated that a secured creditor could initiateaction under both the Acts simultaneously if it deemednecessary.

With a change in circumstances and with surmounting debts byvarious companies and individuals, the need was again felt for alaw that could consolidate and amend the laws relating toreorganisation and insolvency resolution of corporate persons,partnership firms and individuals in a time bound manner formaximisation of asset values of such persons and to promoteentrepreneurship. Accordingly, the Insolvency and Bankruptcy Code,2016 (IBC) was introduced.

The IBC is based on the premise that any creditor6 towhom a debt is due by a Corporate Person can initiate a CorporateInsolvency Resolution Process (CIRP') against suchDebtor by filing an appropriate Application/ Petition. In thepresent article we will be dealing with the provisions of IBC thatrelate to the Corporate Debtor alone as certain provisions relatingto personal insolvency are yet to be notified. A secured creditorhas been defined7 to include a creditor in favour ofwhom a security interest is created. A question that may come toone's mind is that what would be a right of a securedcreditor in case of initiation of a CIRP.

Firstly, it is imperative to point out that on initiation ofCIRP, an Interim Resolution Professional (IRP') takesover the management and control over the assets of the CorporateDebtor. Subsequently, with the consent of the Committee ofCreditors (CoC'), IRP may be appointed as a ResolutionProfessional (RP'). Now it becomes the duty of RP tomanage the affairs of a Corporate Debtor as a going concern. The RPis duty bound to call for Resolution Plans which get approved aftera consensus of not less than 66 percent of the CoC members. If aResolution Plan gets approved (firstly by CoC and thereafter by theAdjudicating Authority), the terms of the said Plan will beimplemented. The secured creditor or any other creditor will bepaid only as per the approved terms of the Resolution Plan asprovided under Section 53 of IBC. However, in case no ResolutionPlan gets approved, the ultimate result is liquidation.

During the process of liquidation of a Corporate Debtor, it isthe right of a secured creditor to either relinquish its rightstowards the security interest or to realise its security interestin a manner prescribed.8 In the event, a secured creditorrelinquishes its security interest, the said asset would form partof the Liquidation Estate and the proceeds thereof will bedistributed as per law. However, if a secured creditor retains itsright to realize its security interest, it will be incumbent on thesecured creditor to prove to the satisfaction of the liquidator itssecurity interest and only that portion will be allowed to be soldon which the secured creditor proves its claim.9 In case, a securedcreditor does not inform the liquidator about its intention torealize the security interest within a period of 30 days from theliquidation commencement date, the assets covered under thesecurity interest shall be presumed to be part of the liquidationestate10. Further, the secured creditorwould also be required to pay to the liquidator within 90 days theamount of its share for the Insolvency Resolution Process Cost andliquidation cost11

It is also the duty of the secured creditor who has proceeded toenforce its security interest to pay to the liquidator the amountsreceived in excess of its admitted claim12 within 180 daysfrom the liquidation commencement date.13 It is alsopertinent to point out here that IBC provides for enforcement ofsecurity interest by only one secured creditor over the asset.After enforcement of right by one secured creditor, no othersecured creditor can enforce its rights subsequently forrealization of the amount for the same secured assets, as theexcess amount is deposited with the liquidator14. Thus, from theaforementioned, it is amply clear that a special recognition isaccorded to a secured creditor under the provisions of IBC andopportunity (in case of liquidation) is afforded to the securedcreditor to enforce its security interest. However, the same is notwithout fetters.

Having explained the rights of a secured creditor under theprovisions of IBC, it would also not be impertinent to mention thatthe process provided under IBC is not for recovery of debt or forenforcement of security interest but for resolution of insolvency.However, it would also not be out of place to mention that lawsincluding IBC recognize the importance of a security interest andthus, efforts have been made by the legislature to give recognitionto the rights of a secured creditor to enforce a security interest,whether the same is done under the provisions of the SARFAESI Actor under IBC.

Footnotes

1.Chapter IV, Transfer of Property Act, 1882

2.Mardia Chemicals Ltd v. Union of India,AIR 2004 SC2371

3.Section 13(2) of the SARFAESI Act.

4.Section 13(3-A) of the SARFAESI Act.

5.AIR2007SC712

6.Section 3(10) of IBC defines creditors to include both securedcreditors and unsecured creditors.

7.Section 3(30) of IBC

8.Section 52 of IBC

9.Supra

10.Regulation 21 A (1) of Insolvency and Bankruptcy Board Of India(Liquidation Process) Regulations, 20161 Amended Upto24-04-2020.

11.Section 21A(2) (a) of Insolvency and Bankruptcy Board Of India(Liquidation Process) Regulations, 20161 Amended Upto24-04-2020.

12.JM Financial Asset Reconstruction Company Ltd v.Finquest Financial Solutions Pvt. Ltd & OrsCompany Appeal (AT) (Insolvency) No.593 of 2019 decided on11.12.2019

13.Section 21A(2) (b) of Insolvency and Bankruptcy Board Of India(Liquidation Process) Regulations, 20161 Amended Upto24-04-2020.

14.Supra Note 12

This article is for information purpose only. It is notintended to constitute, and should not be taken as legal advice, ora communication intended to solicit or establish commercial motiveswith any. The firm shall not have any obligations or liabilitiestowards any acts or omission of any reader(s) consequent to anyinformation contained herein. The readers are advised to consultcompetent professionals in their own judgment before acting on thebasis of any information provided hereby.

THE 10 BEST Seychelles Luxury Resorts – Jul 2020 (with …

Posted on July 22, 2020 by Danzig

What is the price for luxury resorts in Seychelles?

Prices are the average nightly price provided by our partners and may not include all taxes and fees. Taxes and fees that are shown are estimates only. Please see our partners for more details.

Do any luxury resorts in Seychelles have a pool?

Popular luxury resorts in Seychelles that have a pool include:

What are the best luxury resorts in Seychelles?

Some of the best luxury resorts in Seychelles are:

What is the price for luxury resorts in Seychelles this weekend?

Prices are the average nightly price provided by our partners and may not include all taxes and fees. Taxes and fees that are shown are estimates only. Please see our partners for more details.

Which luxury resorts in Seychelles offer a gym?

A gym is available to guests at the following luxury resorts in Seychelles:

Which luxury resorts in Seychelles have rooms with a private balcony?

A private balcony can be enjoyed by guests at the following luxury resorts in Seychelles:

Which luxury resorts in Seychelles have rooms with great views?

These luxury resorts in Seychelles have great views and are well-liked by travelers:

Which luxury resorts in Seychelles are romantic?

These luxury resorts in Seychelles have been described as romantic by other travelers:

Which luxury resorts in Seychelles are good for families?

Families traveling in Seychelles enjoyed their stay at the following luxury resorts:

Do any luxury resorts in Seychelles offer free breakfast?

Free breakfast can be enjoyed at the following luxury resorts in Seychelles:

Which luxury resorts in Seychelles have free parking?

These luxury resorts in Seychelles have free parking:

THE 10 BEST Seychelles Luxury Resorts - Jul 2020 (with ...

Secrets of One of the Most Private Islands in the Seychelles – Luxury Travel Magazine

Posted on July 22, 2020 by Danzig

For those travelers looking for the gold standard in exclusivity and privacy, look no further thanFregate Island Private, one of the most revered hideaways in the Seychelles -- a conservation retreat where giant tortoises outnumber guests.

Nearly every activity at Fregate Island Private can be tailored to guests fancies. Guests looking to relax on the beach will delight in theAnse Victoria Beach, the only privatizable beach in the Indian Ocean and regularly voted one of the Worlds Best Beaches. Private nature walks can be organized with the conservation team, so that guests can experience everything from Fregates little five to the Seychelles Magpie Robin, found only on Fregate Island Private. Additionally, private dinners can be arranged nearly anywhere on the island including on the highest point of the islands mountain!

Fregate Island Private has their ownprivate yacht clubcomplete with a private harbor, where guests can find sports boats, pontoon moorings, hobie cats and a professional dive club. The marine environment around Fregate Island is truly diverse and unspoiled, teeming with color and dramatic topography for guests to enjoy to themselves.

For even more privacy, Fregate Island Private is offering a specialbuyout ratethrough October 2020, which gives guests access to Fregates incredible 720 acres of land, 5 private pool villas, 3 private pool twin villas and the Banyan Hill Estate as well as full board. Pricing as follows:

- June 1st Sept 30th:57,480 Euro per night- October 1st Oct 15th: 65,880 Euro per night

Children ages 0-12 are free of charge, while children ages 13-17 are an additional 450 euros. A personal assistant will be assigned to each villa to cater to guests every whim.

Secrets of One of the Most Private Islands in the Seychelles - Luxury Travel Magazine

DCeased: Dead Planet #1 is Heading Back To The Printers – Screen Rant

Posted on July 22, 2020 by Danzig

Sold-out DCeased: Dead Planet #1 will receive a second printing with a black and white version of New Justice League cover art.

DCeased: Dead Planet #1hasn't even caught its own cover date yet, butfans are already demandingseconds. This sequel to 2019's DCeased series quickly sold out, prompting DC to authorize a second printing.

Created by Tom Taylor, the original DCeasedseries sees Darkseid using Cyborg as a Trojan Horse to infect Earth with a corrupted version of the Anti-Life equation. This new version of the Anti-Life equation causes despair and homicidal impulses in everyone infected,which includes most of Earth's population and many of Earth's heroes. One by one, themany old heroes fall to the Equation,and new ones take up their mantle. Eventually, a fewsurvivors escape the planet, and the Green Lantern Corp quarantines the solar system.

Related: "Batman's Son Replaces Him as a DARKER Knight in DCeased"

DCeased: Dead Planet #1 picks up five years later, with the new Justice League detecting a distress call from none other than Cyborg. Beheaded by an infected Wonder Woman at the end of DCeased to prevent him from revealing that a cure to the Anti-Life Equation is possible, the fallen patient-zeromanagedto keep his systems marginally functionalin the hopes of makingamends. Sitting pretty on Earth-2 (no, not Earth Two, or Earth 2 or that Earth-2, but the other Earth-2), the remaining heroes decide to risk everything to rescue their fallen comrade on the dead Earth.

DCeased: Dead Planet #1 had a cover date of September, but was released July 7th. Like the original DCeased, it was written by Tom Taylor. The artistic team included David Finch, Gigi Baldissini, Rain Beredo, Stefano Guadiano, Trevor Hairsine, and Saida Temofonte. The new printing will include a black and white version of Finch's original cover.

The DCeased story line and its spin-offs and sequels were a creative way for DC to do Marvel: Zombies without actually copying Marvel - thoughDC and Marvel copy each otherwith little hesitation. Those infected with this corrupted version of the Anti-Life equation are not truly dead; they just want to spread death as much as possible. They are single-minded, but not truly mindless. Also, the fact that it is caused by atechno-organic virus transmitted throughboth the internet and blood--rather than a purely biological virus--might make the concept more palatable escapism in a post COVID-19 world. This might account for the series' popularity.

Of course, the series is plenty appealing regardless of the mechanics of the Anti-Life plague. From Black Canary taking on the Green Lantern ring, to Superman and Batman sacrificing themselves while saving others, the series keeps DC at its usual high stakes.DCeased: Dead Planet #1 doesn't let up on these heights ascended to by its forbears;with a potential cure in balance, the potential for loss and for gain remains high.

The new printing will appear in stores August 4th,the same time asDCeased: Dead Planet #2.DCeased: Dead Planet #3 will be released September 1st.

Next: Deceased: Dead Planet Sets the Stage for DC's EARTH WAR

Which Version of Norman Osborn Could Enter the MCU?

Joseph Salvatore Knipper is the alter-ego of a member of the Blue Lantern Corps stationed to guard this particularly chaotic parsec of the galaxy. When not battling inter-dimensional threats, he works as a writer, actor, and singer in New York City. He is proud to help Screen Rant keep the people of Earth informed of the comings and goings of heroes.

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Ray Fisher Reveals His One Request For Zack Snyders Justice League – Heroic Hollywood

Posted on July 22, 2020 by Danzig

The DCEU Cyborg actor revealed the one request he had for the Snyder Cut.

Cyborg actor Ray Fisher recently revealed what his one request for Zack Snyders Justice League was.

Ray Fisher has been pretty outspoken on Twitter regarding behind-the-scenes issues that occurred on the set of Justice League. The Cyborg actor recently slammed Joss Whedon for his treatment of the crew by calling him abusive. Joss Whedon notably took over the directorial duties of Justice League when Zack Snyder left the project.

Zack Snyders Justice League is expected to arrive on HBO Max sometime early next year and Ray Fisher has now opened up another issue he had with the films theatrical cut. On Twitter, Fisher revealed he asked Snyder for his barber, Wayne Nembhard, to be credited on the Snyder Cut after he wasnt recognized in the theatrical cut. You can read Fishers entire thread that goes into more detail about the whole situation below.

If you had one request for Zack Snyders Justice League, what would it be? Feel free to share in the comments section below!

Here is the official synopsis for Zack Snyders Justice League:

Fueled by his restored faith in humanity and inspired by Supermans selfless act, Bruce Wayne enlists the help of his newfound ally, Diana Prince, to face an even greater enemy. Together, Batman and Wonder Woman work quickly to find and recruit a team of metahumans to stand against this newly awakened threat. But despite the formation of this unprecedented league of heroesBatman, Wonder Woman, Aquaman, Cyborg and The Flashit may already be too late to save the planet from an assault of catastrophic proportions.

Directed by Zack Snyder,Justice Leaguestars Ben Affleck, Henry Cavill, Amy Adams, Gal Gadot, Ezra Miller, Jason Momoa, Ray Fisher, Jeremy Irons, Diane Lane, Connie Nielsen, J. K. Simmons, and Ciarn Hinds.

Justice League is now available on Blu-Ray, DVD, and Digital HD. Stay tuned for the latest news surrounding the Zack Snyder Cut and make sure to subscribeto Heroic Hollywoods YouTube channel for more content.

Source: Ray Fisher

Ryden Scarnato

Ryden's affection for all things DC, Marvel, and Star Wars has led him to entertainment journalism at Heroic Hollywood as a News Editor.

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DCeased: Does DC’s Zombie Epic Belong in the Dark Multiverse? – CBR – Comic Book Resources

Posted on July 22, 2020 by Danzig

Is DCeased a dark enough reality to belong in the Dark Multiverse -- or does the heroism of the world give it a place in the core Multiverse?

DCeased has quickly become one of the most brutal incarnations of the DC Universe ever conceived. The world has been besieged by monstrous versions of classic heroes, corrupted by the Anti-Life Virus into mindless killers. However, despite just how dire things are, some heroes have worked to keep humanity alive.

This then raises the question, though, whether DCeasedshould belong to the core DC Multiverse of the much, much grimmer Dark Multiverse. However, there are some good reasonsDCeasedisn't part of the Dark Multiverse, which was established to be a place where key eventsturn out badly and thus result in the end of their respective universes.

RELATED: DCeased: Dead Planet Delivers The Most Heartwarming Reunion EVER

Darkness has defined the world of DCeasedsince the first moments of the series.While experimenting with the Anti-Life Equation hidden inside Cyborg, Darkseid accidentally created a new version of it. This virus was able to consume the minds of those it infected. Darkseid himself was the first person to be affected by this, with the Anti-Life Virus being more than powerful enough to corrupt even the dark lord of Apokolips, causing the destruction of that world. It only got worse when Cyborg was sent back to Earth, spreading the disease and setting up the end of the world. The heroes ofDCeased'sworld aren't immune from these horrors either, as many of them were attacked and infected themselves.

Two human settlementsareeventually established: One in the Gotham Jungles, the other in space on Earth-2. However, almost every major DC hero had been turned into a Blighted One by then, with some remaining threats to the entire universe (Superman and Wonder Woman)while others weredispatched by their former allies (Martian Manhunter, Flash and Aquaman). It's a brutal world where classic heroes and villains suffer genuinely unsettling demises.

RELATED: DCeased Reveals How One Of DC's Most Powerful Beings Was Turned

Despite the end of the world,DCeaseddoesn't take place in a particularlyeviluniverse.Whatever heroes were able to avoid the initial outbreak of the infection quickly united with other allies to try and do what they could to save as many lives as possible. This is a zombie apocalypse where the heroes actually take proactive steps to ensure humanity survives. Even the DC Universe's villains -- as revealed inDCeased: The Unkillables -- were dedicated to saving lives instead of using the chaos to their advantage. This is a world where redemption and saving others wasn't a long-fought mission for the villains but rather an obvious choice.

All of this speaks to theDCeased Universe being firmly within the core DC Multiverse. The ideals of legacy are at the core of the story, with many of the sidekicks and partners of fallen heroes stepping up to take their place and protect the world. Even if the world around them has fallen into chaos, they wouldn't be the only world in the core DC Multiverse that's gone through terrors, including the Nazi-dominated Earth-10 and the vampiric Earth-43. Within theDCeased world, heroes are still dedicated to saving lives above allelse -- even in the middle of a mind-destroying outbreak. While it's often a tragic world, it's not a necessary evil one. The worst events that have happened have only forced out the best in all the heroes, and even the villains. It's a world of heroism in an impossible situation.

There's a solid argument to be made thatDCeased belongs in the Dark Multiverse. It's a world where one major shift in the timeline -- Cyborg's capture by Darkseid -- led to a completely ruined Earth. There have been plenty of brutal demises, and nightmarish figures like a Blighted Golden Superman exist as a reality-breaking possibility. But the world is still defined by heroism, even in the face of unending nightmares. A long-running undercurrent of even the worst worlds in the core DC Multiverse is that heroes still exist even in terrible realities: the Freedom Force still stands against the Nazi-alignedNew Reichsmen, and some heroes stillfight against the vampiric forces of Earth-43. There are still heroes in these worlds, even if they've otherwise endangered or corrupted.

If anything,DCeased has turned numerous conflicted or villainous charactersinto heroes. Because of their circumstances, even someone like Solomon Grundy can become surprisingly noble and well-meaning. It's a world where hope is never destroyed, even as heroes fall to the virus. While it might be one of the most brutal universes, the heart ofDCeased suggests that it should exist in the core DC Multiverse, where heroism is the standard, not the exception.

KEEP READING: DCeased: Tom Taylor Teases Sequel Showing A Post-Undead Heroes World

Avengers: The Heroes Go on a Comically Flawed Journey Through Time

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DCeased: Does DC's Zombie Epic Belong in the Dark Multiverse? - CBR - Comic Book Resources

5 Ways Teen Titans Go! To The Movies Proved To Be The Best Teen Titans Movie (& 5 Times It Fell Short) – Screen Rant

Posted on July 22, 2020 by Danzig

Back when it was released,Teen Titans Go! To The Movieswas an unexpected treat on a year dominated with superhero behemoths, both in live-action and animation.That's saying a lot for a show that's known for having one of the most polarizing receptions possible (and a notoriously bad teaser trailer) among animation and DC fans.

RELATED:10 Teen Titans Plotlines We Want To See In Titans

The feature-length motion picture of the 2013 reincarnation of the Titans sees Robin, Cyborg, Starfire, Raven and Beast Boy motivated to get their own studio movie through wacky hijinks. And for better or worse, it proved to the best Teen Titans movies. Here are five reasons why (and other reason why it fell short).

The cast of the show (comprising of Greg Cipes, Scott Menville, Khary Payton, Tara Strong and Hynden Walch) reprised their voice roles from the animated series. And they retained that same energy from the show. Yet, they are joined by other figures doing splendid voice roles.

The main supporting players are Will Arnett as Slade and Kristen Bell as Jade Wilson. And several figures made cameos like Michael Bolton as the singing tiger, Nicolas Cage finally fulfilling a lifetime role as Superman and Stan Lee appearing in a DC movie.

Robin in Teen Titans Go! is meant to poke fun of his reputation as the worlds famous superhero sidekick.As a result,he is usually portrayed as a spoiled try-hard lead hero wannabe, which diminishes him from any leadership merit. This is meant to draw a difference between his more serious self in the 2003 show.

Even if that is reasonable, Robins petulance being the movies driving point is kind of intolerable.This unintentionally makes him even more unlikable than usual, since his shtick in the series is wanting to be the center of attention at all costs. Take it, as one will.

For better or worse, Teen Titans Go! is aimed for a younger demographic, unlike the more acclaimed 2003 showwhich targeted teenagers and young adults. As much as fans would like to note for the show on simply stretching Teen Titans chibi-inspired humor to 11-minutes segments, the 2013 show embraces the cynicism and finds its humor on their charming self-deprecation.

Teen Titans Go! To The Movies recaptured the shows lively charm. Every second is brimming with colorful gags from each of the Titans, which shows they are a superhero team that never takes them seriously.

Believe it or not, Teen Titans Go! To The Movies is a musical... sort of. The songs in the movie are meant to convey the situation that the Titans are in now. However, they came off randomly, which either lands its joke or becomes a head-scratcher. The Crystals beat during Supermans birth is an example of the latter.

RELATED:Where To Watch All The DC Animated Universe Movies Online

However, the only song to hold in is Upbeat Inspirational Song About Life," where Michael Bolton lends his vocals on an anthropomorphic tiger, who eventually got hit and run by the Titans. That happened.

One of the aspects that made Teen Titans Go! succeed, despite the negative reception, is its self-aware humor. The creators are fully conscious that this reincarnation of the Titans is something audiences would not take seriously and is even hated in a certain sector. Thus, they incorporated that fact to the self-deprecating humor and to the plot of the Titans proving themselves to other DC heroes.

However, it is not only the Titans having this self-awareness; the film also takes swipes on the DCEU and other DC failures, like the Green Lantern bit and mistaking Slade for Deadpool.

The film uses Teen Titans Go!s traditional animation that has been outsourced from Copernicus Studios and Bardel Entertainment, the animation house behind Rick and Morty. Despite staying consistent and faithful to the show's presentation, it felt cheaper to use the same animation method for its big screen debut.

RELATED:DC Titans: The 10 Best Characters, Ranked

As a result, most of the scenes never felt cinematic, as much as they try. The sequences that got close to a cinematic experience are the Upbeat Inspirational Song About Life segment and the climax. So, expect less on its animation upgrade.

With its penchant for self-referential humor, Teen Titans Go! To The Movies boasts on poking fun of established superhero tropes. And it is both clichd and subversive. An example of this is Slade (Will Arnett). While the show features an array of supervillains, the team (or specifically Robin) has yet to find its definitive villain. And the movie makes most fun on this trope.

One thing that Teen Titans Go! also made fun are the origin stories of its DC heroes during its second-act time-travelling bit. Guess they predicted Endgame.

One of the most groaning criticism about Teen Titans Go! and its film is the overabundance of juvenile humor, mainly toilet humor. The most infamous instance of the latter wasfeatured prominently in the trailers, with Balloon Man and the hole on his rear. Seeing it in the movie feels longer and needless. There are even shots ofBaby Supermans butt shot and an entire running gag about fart noises.

To be fair, itis not surprising to see such humor in a kids-oriented movie, butrelying on it alone at the expense of cleverly written jokes will alienate newer audiences and irritate older Titans fans even more.

Fans and audiences admire the Teen Titans for their charm, quirks, likability and overall superhero fun. This is incorporated in the 2003 series, the 2013 series and eventually the latters feature-length release. Like it or not, this movie rightfully captures the irreverent spirit and the indulgent self-awareness of their reincarnation.

Each Titan has his or her signature quirk retained; Robin is an arrogant leader, Starfire is still preppy, Cyborg is louder than ever, Beast Boy is more laidback and Raven is her sarcastic, deadpan self. Yet, their dysfunctional selves save the day, like every time.

Before the movies release, the first teaser for Teen Titans Go! To The Movies was panned online. The negative reception is severely linked to the existence of the show, rather than being a continuation of the acclaimed 2003 series. As much as the older fans disagreed with it, the debate on which Teen Titans is worthyof a continuationwas decided by the studio whenTeen Titans Go!got a cinematic release.

But for those still lookingforward to the original Teen Titansgetting their own feature besides the made-for-TV movie and glorified episode that isTrouble in Tokyo, at least there is the mid-credits to spare that teased the eventual Teen Titans Go! vs. Teen Titans crossover.

NEXT:6 Things Doom Patrol Does Better Than Titans (And 4 Things Titans Does Better)

Next Audrey Hepburn's 10 Best Movies, According To Rotten Tomatoes

Paolo Alfar is a freelance writer, based in Manila, Philippines. His passion for films is accidental when he designed a movie theater during his childhood. From there, his fondness for movies grew. And the Leo DiCaprio epic "Blood Diamond" somehow kicked off that passion.Follow him on Letterboxd at Paolo_the_TPS.

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Alita: Battle Angel 2: Will it meet up to the expectations? Click to know about the Release … – Daily Research Plot

Posted on July 22, 2020 by Danzig

We have seen so many science-action films release in the last year. Similarly, almost a million Japanese manga series has released as of late. However, we havent had movies that bring together the best of both worlds. Alita: Battle Angel is perhaps the first action movie based on Japanese Manga. The motion picture released on January 31, 2019, and was an instant hit. Liked by fans and critics alike, viewers have been craving for more since its release.

The creators had created the first movie, keeping in mind that they would release a series of them. The script for many movies was planned even before the first film hit the screens. Alita Battle Angel was a super-hit blockbuster that gave the creators a much-needed push. However, this was before Disney swallowed 20th-century fox. Also, the film didnt do as well as expected. As of yet, there is no update regarding Alita Battle Angel 2.

Moreover, due to the coronavirus pandemic, production has taken a hit worldwide. It is highly unlikely that we will receive news any time soon. Even if the creators make the second installment, it will not release worldwide before 2022.

The cast will be most likely to remain the same as the previous season. Along with the original cast, sources say that we may see new characters. Rosa Salazar will return as our protagonist, Alita. Meanwhile, Christoph Waltz will act as Dr. Ido while Jennifer Connelly will do the theatrics for Dr. Chiren. Meanwhile, Mahershala Ali and Ed Skrein will also return to make an appearance. Edward Norton will also return as the perplexing Nova.

Alita Battle Angel is a very futuristic movie. The story revolves around Alita, who is a cyborg. Moreover, Alita has no recollection of her past. She is taken in by Dr. Ido, who acts like her foster parent. However, she recalls that martial arts are one of her strengths. Finding herself in an unknown city, she decides to explore. Soon, she decides to put her powers to good use. She becomes a hunter who hunts down cyborg criminals. Later on, Alita meets Zalem, another bounty hunter. Together, they try to rid the city of Scrapyard from criminals.

The first movie ended with the death of Hago. Hago is none other than Alitas lover. However, this unexplained ending has left fans wanting a sequel. Considering that this is a futuristic movie, the creators may find a way to make Hago return. Also, we must not forget that the creators thought of sequels before releasing the first movie. Without a doubt, Alita Battle Angel is connected to the newest installment. Not much is knows about what the latest film has in store for us. We simply have to wait to know more about what the franchise has in store for us!

With no plans for production resuming anytime soon, the trailer hasnt released yet. However, you can always watch the trailer for the first season if you havent already.

Thats it for today! We will keep you posted with updates until then, continue reading with us!

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DCeased: Dead Planet is Heading To The NEW Gods’ Home – Screen Rant

Posted on July 22, 2020 by Danzig

With time running out for a cure, the surviving heroes of the Justice League head to New Genesis, home of the New Gods, to pull off a heist of the ages

The Justice League from Earth-2 had no idea what they were returning to when they returned to their previous planet after the events of DCeased five years ago. Now their search for a cure for the Anti-Life equation is taking them to all sorts of unlikely places, such as the planet New Genesis, home of The New Gods.

Created by writer/artist Jack Kirby in his 1970sFourth World comic series, New Genesis is a benevolent planet ruled by the all-powerful Highfather whosepeople are locked in constant conflict with its evil counterpart, the planet Apokolips and their ruler Darkseid. Built on the foundations of the 'Old Gods', the people of New Genesis maintain a spiritual connection to the primordial metaphysical force called The Source which they believe enables all their divine abilities. Although they would constantly be at war, Highfather and Darkseid once attempted a truce by exchanging their sons with Darkseid's son Orion raised on New Genesis and Highfather's son Scott Free raised on Apokolips which was maintained until Scott escaped Apokolips. Many of these entities from both planets have made themselves known to Earth and its heroes with many of them playing crucial roles as protagonists or antagonists in many of Earth's conflicts. In DCeased, it was Darkseid who created the corrupted the Anti-Life equation for Cyborg to carry back to Earth as retribution for his latest defeat at the hands of the Justice League. However, this activity backfired as the genocidal dictator was infected and upon throwing himself to the planet's core, Apokolips and all its denizens were destroyed as the planet exploded.

RELATED:Everything You Need To Know About DC's NEW GODS

The New Godshave been noticeably absent during the events in this alternate DC reality with the exception ofScott Free aka Mister Miracleand his Apokoliptan wifeBig Bardawho perished during the events ofDCeased: A Good Day to Die. It appears that New Genesis will make its DCeased debut in DCeased: Dead Planet #4 as the cover art shows Highfather and Orion, now the last son of Apokolips, alongside Superman, Ms. Marvel and Green Lantern Dinah Lance in this cover by artist David Finch seen below:

With the returning heroes recently learning that there is indeed a cure for the Anti-Life infection, the surviving Justice League's search will take them off-planet, via a Boom Tube, to New Genesis for what is described as the greatest heist in the history of that planet! How does one steal from the New Gods and live to tell the tale? Considering that the first issue of DCeased: Dead Planet is currently awaiting a second printing, one could say fans are dying to find out and hopefully, our heroes heist isn't too late to save the homeworld and billions of undead people they left behind.

DCeased Dead Planet #4 written by Tom Taylor with art by Trevor Hairsine and Gigi Baldassini will be released on October 6th, 2020. Along with the main cover by David Finch, a card stock variant by artist Francesco Mattina and a movie homage variant cover by artist Inhyuk Lee will also be released.

NEXT:DCeased: Dead Planet Sets The Stage For DC's EARTH WAR

For Green Lantern, Beating Superman Is Hilariously Easy

Drew is a reader, writer, artist, and creative professional based in Westchester, New York. He dabbles into cosplay, movie references, comics, and some anime while also being a Ghostbuster. He has a Bachelors in History, a Masters in Publishing and is excited to be working with Screen Rant. Previously his articles have been featured on Comic Book Resources and Iron Age Comics and he's excited to see what happens next!

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Star Wars: The Clone Wars gets awesome trio of Vintage Collection Arc Troopers figures – CNET

Posted on July 22, 2020 by Danzig

Arc Trooper buds Fives, Echo and Jesse are together again in Hasbro's Vintage Collection three-pack.

Star Wars: The Clone Wars came to its spectacular conclusion on Disney Plus back in May, but Hasbro wants to memorialize some of its heroes on your shelf, CNET can exclusively reveal. The gorgeous Vintage Collection 501st Legion Arc Troopers three-pack includes Echo, Fives and Jesse, clones who appeared in the beloved CGI animated series' most beloved episodes.

These 3.75 inch figures come with removable helmets and four blasters each, so they're absolutely set to take on some clankers (or at least look awesome in your collection). The three-pack will be available on Hasbro Pulse in September, and will set you back $50.

Entertain your brain with the coolest news from streaming to superheroes, memes to video games.

Hasbro has done an excellent job of sculpting and painting each of the trio's armor and hair styling (or tattoo in Jesse's case), ensuring they'll still pop if you display them among a bunch of other figures.

These guys show up regularly in The Clone Wars' seven seasons -- the 501st Legion was under Anakin Skywalker's command -- with Fives and Jesse both suffering dark fates. However, we'll see Echo's post-Clone Wars adventures next year -- he gets some cyborg enhancements and ends upjoining the Bad Batch, a squad of genetically enhanced clones that'll appear in a new Disney Plus show.

If you want to check out some of these lads' greatest moments in The Clone Wars, check out the Citadel trilogy (season 3, episodes 18 to 20), the Umbara arc (season 4, episodes 7 to 10), the Orders storyline (season 6, episodes 1 to 4) the Bad Batch's adventure (season 7, episodes 1 to 4) and glorious, series-ending Siege of Mandalore (season 7, episodes 9 to 12).

All seven seasons of the show are available on Disney Plus.

Now playing: Watch this: EA shows new gameplay footage for Star Wars: Squadrons

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The music of the subcontinent – Daily Times

Posted on July 22, 2020 by Danzig

The greatest Muslim mystic, Jalal Uddin Rumi said, There are many ways to the divine, but I have chosen the ways of song, dance and laughter.

On the contrary, the greatest exponent of atheism and intellectualism, a radical German philosopher and composer, Friedrich Nietzsche said, Without music, life would be a mistake.

Music is a precious gift from nature and it is the only catharsis of humans ever and nowadays in clinical psychology music has become credible psychotherapy. Music is the language of the universe and it is the only thing, which can never be eliminated from any aspect of life. It can also never be unrecognisable for any creature of this universe, even animals can understand the language of music. Music has the same value and importance in all cultures across the globe and no civilisation has ever existed without the colour of music, but the music of subcontinent is more ancient and more adorable than other civilisations of the world. That is sad to us, After partition, we have intentionally sidelined all kinds of fine arts, particularly music. We have perished the value of fine arts. Rather, we have destroyed the image of those people who were directly related to fine arts, particularly musicians. We didnt give the real respect to the greatest musician of the Kasur Gharana, Ustad Bade Ghulam Ali Khan Sahib. Thats why he left Pakistan after partition and settled in India. We always degrade musicians and all types of artists. Music is a divine sound and is directly related to our metaphysical core. The Sufi mystic of our region, Hazrat Ali Hujwiri alias Data Gaj Baksh, said in his book, Kashf-ul-Mahjoob, Except hypocrite, every person understands the language of music.

Music is the language of the universe

The music of subcontinent is technically called Shastri Sangeet or Hindustani classical music. It is the first and very ancient music in the world. The music of subcontinent dates back to more than 1500 BCE and it is first time written as literature in Hindu religious scripture Samaveda.

Our first musical instrument was Veena, Sarangi and Tanpura. Veena is the very classical and ancient form of Sitar, which is no longer used today. Shatria Sangeet or Hindustani Classical music is purely based on melody. Like western music, we do not use notations and scales. We utterly emphasise on vocal techniques and give chance to a learner that he can use the natural strength of his vocal range. So on the base of that rule, in Hindustani music, the particular vocal techniques have discovered. Later on, it was called Gharana, i.e. singing school. Our music is based on Layakari. Layakari means vocals following the rhythmic cycles. The most prominent Gharanas in Pakistan are Patiala Gharana, Qawwal Bachon Ka Gharana, Shamchurasi Gharana and those in India are Mewati Gharana, Gwalior Gharana, Agra Gharana, Kirana Gharana, Bhendi Bazaar Gharana, Jaipur-Atrauli Gharana, Rampur-Sahaswan Gharana and Indore Gharana. Gharana is a style of singing, which is a specific recognition of the musicians.

The Sufi singing style is called Qawwali and it is specifically performed by Qawwal Bachon Ka Gharana. In Pakistan, the most prominent members of Qawwal Bachon Ka Gharana were Ustad Iftekhar Ahmed Nizami and Ustad Munshi Razi Uddinuddin. Similarly, the Patiala Gharana is the most influential musical school in subcontinent music, It was founded by Fateh Ali Khan and Ali Baksh Khan and was initially sponsored by the Maharaja of Patiala, Punjab. It was known for Ghazal, Thumri and Khayal styles of singing. The most influential Patiala singers are Ustad Bade Ghulam Ali Khan, Ustad Ashiq Ali Khan and Ustad Bade Fateh Ali Khan.

This Gharana tends to favour pentatonic ragas for their ornamentation and execution of intricate taans. Ektaal (12 beats rhythmic cycles) and Teentaal (16 beats rhythmic cycles) are the most common taals chosen by members of this Gharana. Besides, Khayal exponents sing the Punjab-Ang thumri. The special feature of Patiala Gharana is its rendering of taans. Taan is the singing of very rapid melodic passages using vowels. These are very rhythmic, vakra (complicated) and phirat (wandering) taans, and are not bound by the rhythmic cycle. Taans with clear aakaar are presented not through the throat but the naavi (navel).

This Gharana has been criticised for neglecting basic raga characteristics such as the primary development octave and for overusing ornaments and graces (thumri style) without considering the nature and mood of the raga. The music of subcontinent is the music of nature, like western music our musicians do not emphasise on falsetto. The musicians of these Gharans do not use any scale or orchestral arrangement like western musicians rather they use a melodic pattern which is recognised as raga. Raga is the essence of subcontinent music. Without a melodic pattern, the style of singing becomes light or pop music. Raga, alap, aakaar, taan, murki, khatka, gamak, meend and kan are the specifications of Hindustani music.

The writer is a psychologist and a polymath

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A black-and-white view of what it means to be Catholic – NZ Catholic

Posted on July 22, 2020 by Danzig

Im Catholic. Now What? by Shaun McAfee. Our Sunday Visitor (Huntington, Indiana, 2019). 335 pp., US$19.95.

What to Say and How to Say It: Discuss Your Catholic Faith With Clarity and Confidence by Brandon Vogt. Ave Maria Press (Notre Dame, Indiana, 2020). 235 pp., US$16.95. Reviewed by MITCH FINLEY (CNS)

These two books give readers an overview of what it means to be Catholic. They share the strengths and weaknesses that any such book is bound to have.

On the positive side, each gives clear explanations for topics related to being Catholic in todays world. On the negative side, each encourages the reader to believe that there is only one acceptable Catholic point of view, one acceptable Catholic answer to ethical and moral conundrums indeed, one acceptable way to be a good Catholic.

In other words, these books present a black-and-white view of Catholicism, as if no grey areas exist. They tend to overlook G.K. Chestertons observation that Catholics know the relatively few transcendental truths on which they do agree, and take rather a pleasure in disagreeing on all the rest.

That said, such books have their place and can be helpful.

This is the book cover of Im Catholic. Now What? by Shaun McAfee. The book is reviewed by Mitch Finley. (CNS) See BOOKS-FAITH June 12, 2020.

Shaun McAfee, author of Im Catholic. Now What? is a former evangelical Christian who joined the Catholic Church. This gives him the ability to speak to those with a non-Catholic background about Catholicism, knowing what their perspectives and questions are likely to be.

At the same time, former evangelical Christians tend to shift their former inclination to find all the answers in a kind of biblical literalism, to an inclination to find all the answers in a kind of Catholic doctrinal literalism, and this seems true of these books. Both McAfee and Vogt seem to assume that all official Catholic documents and teachings are at least virtually infallible.

While Vogts book limits itself to certain more-or-less controversial topics, McAfees book addresses Catholic topics of many kinds, including the Bible and the Catechism of the Catholic Church, the sacraments, Mary and the saints, prayer, drinking beer, kissing a bishops ring, opposing relativism, euthanasia, evolution, Church history, and genuflecting and bowing.

Vogt became a Catholic as a young adult but, prior to embracing a Catholic doctrinal literalism similar to that of McAfee, he was a millennial none. Vogt divides his book into nine sections: Answering Atheism, Evil and Suffering, Trusting the Gospels, Explaining the Eucharist, Abortion, Same-Sex Marriage and Transgenderism. Particularly appealing is that each of these includes an expert interview with an individual whom Vogt regards as an expert on that topic. These include Peter Kreeft and Jesuit Father Robert Spitzer.

One advantage of Vogts What to Say and How to Say It is that it includes one of the few easily available popular theological discussions of transgenderism.

When it comes to issues on which there is considerable Catholic disagreement such as the morality of contraception McAfee embraces the official Catholic point of view with no mention of contrary beliefs. McAfee turns frequently to The Catechism of the Catholic Church so, in this regard, it would have been helpful had he at least remarked on the catechisms ambiguity on the topic of freedom of conscience.

Both of these books make good reading for both new and cradle Catholics. Readers do well, however, to remember that the authors wrote their books from a certain ideological perspective on what it means to be Catholic.

A black-and-white view of what it means to be Catholic - NZ Catholic

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