text:
It was a humbling moment, but in the cold light of the pandemic, I realized my reasons for wanting big social media visibility were unfocused and half-hearted at best.
Writing and interviewing remain my best strengths, the outcome of attending journalism school. Structure matters in all storytelling; everything must possess a beginning, middle, and end. Context matters, but we prefer to focus on capturing isolated moments, each carefully curated and filtered but often devoid of profundity or purpose. It exists merely to engage the eye, maybe titillate a few people and little else until the next image makes its way onto a profile.
In the mad dash to amass followers, we became lemmings, often regurgitating or repurposing the same videos other people did, usually worse in the process. Yet, we view them, tag them, share them, and keep the cycle going until the next trend takes over. Or, we keep repeating the same clips or mime the same dialogue from popular films, TV shows, dances from music videos, and other art made by other people to show what? How spectacularly good are we at being copycats, devoid of any real discernable talent? (If I see one more person wearing a white wig to become Miranda Priestly in The Devil Wears Prada one more time…!?)
Oh, and the punditry of it all. Those people who need to constantly weigh in by commenting on the news, pop culture, whathaveyou. Pundits ruined mainstream journalism. Now the water cooler or barstool is a global comment box with effects, music, and often scabrous banter that offers little in terms of analysis or depth. Scott Z. Burns’s script for Contagion (2011) featured a statement I’ve never forgotten.
Elliott Gould’s character, Dr. Sussmann, admonishes Jude Law’s character, conspiracy theorist Alan Krumwiede, with this blunt fact: “You are not a writer; a blog isn’t writing.It’s just graffiti with punctuation.” We’ve endured countless real Alan Krumwiede’s since then, like such wicked performers as Alex Jones and Candace Owens, people who will say and do everything for attention, deliberately misinforming others to stir the pot, even if it poisons people. All to live, earn money, and have the power to do it again!
No, I won’t be returning to the socials any time soon, nor will I promote this page in any fashion. The noise I found on social media created such anxiety I became angry at myself for letting it affect me so profoundly. It exists for me to unload what is taking up space in my mind. And it is helping me cope with the unease I feel with our world by having a creative space to deconstruct my feelings, strengthening my ability to communicate as a writer again in an honest manner.
I still value the importance of conversation and sharing, but I want to control the message better by not using external approval or validation as a catalyst to write. So much insight and inspiration can be found in education, understanding the rules and mechanics of writing and communication. Investigating and digesting the works of fabled writers from the past can impact the present and future!
In this era of “The Follower,” we affirm the truth that “We are What We Consume.” Eat empty calories; you will fatten up and atrophy. Consistently wallow in the bile and snark, our souls will darken as the algorithms spew out more and more of the same on your feeds. Imitation may be the sincerest form of flattery, but what about creating something new and unexpected? What about crafting narratives that enlighten and inspire, not perpetuate hateful Reddit myths and conspiracies to justify an evil agenda?
I accepted seeing myself more as possessing a big personality than a performer when I first walked onto a stage to act in a school play. That wasn’t the attention I craved; I wanted to be heard and visible. To a certain degree, that remains true today, but how big or small an audience is doesn’t matter to me. If only I read this blather, that’s fine with me, too. Not all of us were meant to be performers worth viewing. Not everything needs to be said or visualized just because you can’t handle the silence or void. But if you’re going to do it, make it something more than just a pale imitation of what’s been done before.
God, imagine what we all will look and sound like in 10 years? My mind reels, but I remain hopeful.
For a specific generation, the sight of Sandy’s evolution as the quintessential “good girl” gone “bad” in the camptastic 1970s movie musical Grease, you’d think an opera diva hit a high note.
It rocked many of us to the core, seeing Olivia Newton-John wearing those skin-tight pants and the red Candie’s high-heeled mules, that ciggie forever burning her amazing self into our minds. Coupled with an equally sexy John Travolta as Danny Zuko, we all wished we could be one or the other — and in most cases — both.
Yet, when I think of Olivia Newton-John, my mind returns to my family’s legendary drives through the American southwest as we vacationed by car to visit Dad’s family in Mexico City. Dad most trusted co-pilots remained me and the car radio during those long-haul night drives through the lonely desert as the family slept. (I had to stay awake as I didn’t want to miss anything!)
Dad and I didn’t talk much as he didn’t want distractions as he drove fearlessly across some mind-numbing landscapes that I imagined contained all sorts of nefarious creatures. But we forged and shared an appreciation for the sounds of ONJ, an earnest voice keeping us company as AM stations played many of her iconic hits of that time. The warmth in her voice proved as seductive as a siren song as we made our way across the US southwest during those memorable trips. My love of ONJ began and grew with every new pop hit, her starring roles in Grease and, especially, Xanadu.
News of her passing at 73 makes for a bittersweet trip to a time I keep compartmentalized as an adult. I’m suddenly seven years old, 10, 13, and 14 at the same time, all ages marked by her music and movies, moments that resonate just as strongly today. I never was able to see her perform live. Yet, I join her legion of fans that will honestly and hopelessly proclaim their love and devotion for ONJ today and onwards because she will forever be true magic as an artist and human being.
What the hell is happening with Broadway audiences?? Is baiting theater legend Patti LuPone the source for new “Karen videos” aiming at creative dis-content infamy? What about Jesse Williams‘s nude scene in the play “Take Me Out” being shot and posted onto Twitter?! Why are we hellbent on ruining the once simple pleasure of enjoying live theater in such a callous, selfish way?
As our social mores continue their sad, rapid decline, I seriously thought live theater would be the last bastion of good taste and deportment. I guess I should have known the writing was on the wall the last time I attended a play on Broadway (“Burn This” in 2019) which was attended by more people in flip flops and shorts than I’ve ever seen. The recent events involving Ms. LuPone and Mr. Williams just adds more fuel to the pyre.
Live theater became a religion for me in 1983 when I took my first trip to NYC. The original productions of La Cage aux Folles and My One and Only, plus Nine and Doonesbury the Musical were my first Broadway musicals, a transformative experience to say the least. The audiences could not have been more respectful or well-heeled. I even wore a tie to each performance. Yet, reading the latest headlines of hooliganism on the Great White Way makes me ponder when it all went south.
We’ve seen how the toxicity of hooliganism transforms sporting events into something both demeaning and dangerous. Yet, since talk shows such as “Jerry Springer” and “Ricki Lake” started rewarding bad behavior with a rabid television audience leering for more, are we that surprised as to what passes for “class” today? Screaming at people is an art form thanks to those reality shows involving “real housewives” and other scions of dysfunction. But the toxicity level hit its vertiginous peak with the rise of social media, allowing for the telebasura or TV Trash to be captured, crafted, and posted with incredible ease. Witnessing “Karens in the Wild” best sums up our complete breakdown of manners and civility in any public space, big or small. So much so, the Trumpian Era of politics ushered levels so base and classless behavior it succeeded in re-branding the Ugly American into a superbeing.
How can any rational discourse, much less good manners, exist in a world where human hyenas fight for camera time on Fox News or the floor of the Capitol Building. More, this lack of boundaries and good taste is giving free license to people to use their mobile phones as weapons of mass distraction. As to their endgame, I can only imagine it is fuel their desperate need for views and followers to validate their self-worth while promoting their ravenous desire for attention and status.
How do we turn the tide? With the NY theater community still reeling from the creative and financial meltdown caused by the COVID pandemic, that several houses and productions are bouncing back is a veritable miracle. The venues are getting stricter by locking down mobile phones, extending the mask mandates, and other health-driven initiatives. But what about the audience itself? At what point do we engage a mandate for people to stop being for damn loathsome in public? This era of constant whining, lack of accountability, and good sense is not how we achieve greatness. With our hard-earned democracy in shambles while the MAGA-fueled right fiddles as Rome burns, maybe complaining about shitty audiences seems like a waste of time.
But take a good look around you and ask yourself, “What ever happened to class?”
We share and resend the motto memes of “Be the change you want to see in the world.” Unless we start making that happen now, I’m honestly hoping for an asteroid to take charge already and slam into this damaged planet.
Cue 1975’s classic showtune from Bob Fosse’s Chicago, written by John Kander and Fred Ebb. It was cut from the 2002 Oscar-winning film version, but thankfully it was shot with Queen Latifah and Catherine Zeta-Jones and included with the home entertainment special features as a deleted scene.
I don’t know what is worse in this appalling situation involving “Turning Red” and the review submitted by Sean O’Connell. He is CinemaBlend’s MANAGING EDITOR! And that generic mea culpa from the website and O’Connell? Just more of that “Oops, my bad” copy that is such a weak bandaid. I’ve been a film reviewer in my career. It is never about YOU in most cases, but this era of writing for site traffic is so demoralizing. This feels like Pixar is now a target for alt-right bullshit. We need to do and be better already if we want to survive this endless barrage of hate.
Read more about the CinemaBlend controversy below.
Welcome back to the Carreón Cinema Club, mi gente!
I’m sure a lot of life has happened to you all since the Club’s last gathering. Perhaps a little too much of 2020 bled into the start of 2021, but it is vital to keep looking at the optimistic side of a pessimistic reality. Sooner or later, we will catch up to our changed lives and turn this cosmic Titanic around. Until then, I thought I’d kick off this year’s edition of the Carreón Cinema Club with “The 3 Films and Series That Give Us Life.”
AUNTIE MAME (1958)
Directed by Morton DaCosta
Written by Betty Comden & Adolph Green
(Adapted from the novel Auntie Mame by Patrick Dennis; and the play by Jerome Lawrence and Robert E. Lee)
Starring: Rosalind Russell, Forrest Tucker, Coral Browne, Peggy Cass, and Jan Handzlik
Streaming: TCM (Check listings), Amazon Prime (Rent), Apple TV+ (Rent)
Rosalind Russell was already a comedic force of nature before she scored her most iconic role as everyone’s dream relative in Auntie Mame. During the early 1950s, Russell turned to the Broadway stage when starring film roles became less plentiful. After scoring a whopping success with the musical Wonderful Town in 1953, she hit it big again with the play Auntie Mame. Based on famed eccentric Patrick Dennis’s madcap best seller, it was adapted for the stage by Jerome Lawrence and Robert E. Lee, becoming a box office smash for two years running. After the play closed, Russell returned to the big screen as Mame Dennis in the film version released in 1958. Directed by Morton DaCosta, Russell’s towering performance again entranced audiences, with the film still a beloved classic.
Watching Auntie Mame is almost a rite of passage for some. Turner Classic Movies often broadcasts the film today, particularly around the holidays. However, it was on the now-rebranded American Movie Classics channel that my family and I first saw the film several decades ago. Russell’s incandescent performance as a wealthy, stylish bohemian is one for the ages. Her transition from a woman of leisure to becoming the mother figure to her orphaned nephew Patrick is a beautiful and hysterical arc to follow. It’s hard not to want to be part of Mame’s riotous crew if it means meeting people like Vera Charles. Who wouldn’t want to hang with the first lady of the American stage, a salty broad who loves a drink as much as her stage entrances, maybe more?
The wonderful thing about Mame Dennis as a character is that she does evolve as much as she influences the people closest to her. Whether it’s her pregnant, possibly unmarried, secretary, the mousy Agnes Gooch, or her exuberant oil baron husband Beauregard Pickett Burnside, especially her little love, Patrick, combined, they redefine the concept of family. The same applies to the ensemble that surrounds Russell is as charged up as she, with Coral Browne, Forrest Tucker, Peggy Cass, and young Jan Handzlik, all giving as good as Russell.
In the end, Mame proves victorious over those who dare mess with her family, culminating in an outrageous “reunion” finale that makes the whole journey worth the ticket. Author Patrick Dennis’s real-life story is worth a film of its own, one that shares many of the same colors as Mame Dennis. The original novel’s success led to a sequel book and a smash hit Broadway musical with Angela Lansbury. Alas, Mame’s fortunes dimmed quite a bit when a misguided Lucille Ball brought the musical version of Mame to the screen, resulting in a box office bomb that damaged her reputation. Yet, word is Mame may rise again in the 21st century thanks to writer Annie Mumolo of “Bridesmaids” fame and the fearless Oscar winner Tilda Swinton as the fabulous Ms. Dennis. We shall see. Otherwise, to quote Mame, “Life’s a banquet, and most poor suckers are starving to death!” In this era of too little happiness and endless complaint, you would do well to take in the meal offered by joining Rosalind Russell as Mame and company.
MARRIED TO THE MOB (1988)
Directed by Jonathan Demme
Starring: Michelle Pfeiffer, Matthew Modine, Dean Stockwell, Mercedes Ruehl, and Alec Baldwin
Written by Barry Strugatz & Mark R. Burns
Streaming: Hulu, Amazon Prime, Apple TV+ (Rent)
It’s hard not to picture Michelle Pfeiffer as forever being an A-list star, yet, believe it or not, her ascension did take a while. After making her leading lady debut in 1982 with the infamous musical sequel Grease 2, she made sure no one would use that cult classic against her thanks to early memorable roles in Scarface and The Witches of Eastwick. 1988 would prove a watershed year for her with the release of the awards season hit Dangerous Liaisons and the mafia comedy Married to the Mob.
What made Married to the Mob significant for Pfeiffer was that the film allowed her to show off a sublime sense of humor as an actor. Director Jonathan Demme made an inspired and bold choice to cast her as beleaguered mafia wife, Angela DeMarco. She nails not just the “fuggedaboutit” accent and wears Colleen Atwood’s divinely OTT costumes with confident style; Pfeiffer brings luminous humanity to a woman who aspires to a better life.
Once hubby “Cucumber” Frank DeMarco is iced, played to the coolest hilt by Alec Baldwin, the widow DeMarco finds the power to leave the mob rule and find a new home for her and her young son. Unfortunately, Alpha Male don, Tony “the Tiger” Russo, portrayed by Oscar nominee Dean Stockwell, can’t think about anyone else but her. Neither can the FBI, led by Matthew Modine, whose investigation into Frank’s murder turns complicated when he pieces together Angela’s true agenda. Yet, hell hath no fury like Tony’s wife, Connie Russo, played by a scene-stealing Mercedes Ruehl. As the one person Tony fears, Connie is not about to let someone take her man.
Pfeiffer staked her claim as a leading actor of her generation the following year in The Fabulous Baker Boys, a star turn that brought her a first Best Actress Oscar nomination. Married to the Mob put her on the path, though, and in honor of the late Jonathan Demme’s recent birthday, it merits a visit as a film that will give you life.
COMO AGUA PARA CHOCOLATE (1992)
Like Water for Chocolate
Directed by Alfonso Arau
Screenplay by Laura Esquivel, adapted from her novel
Starring: Lumi Cavazos, Marco Leonardi, Ada Carrasco, and Regina Torné
Streaming: Hulu, HBOMax, Amazon Prime
Food on film has a long history of making audiences hungry for more. With such classic films as Tom Jones to Tampopo and Babette’s Feast, cuisine’s cinematic power will forever tantalize all of our senses. The arrival of author Laura Esquivel’s romantic fable Como Agua Para Chocolate (or Like Water for Chocolate) added a layer of magical realism and romance to the recipe. Here the food not only dictates the fate of its protagonist, Tita, it also manifests itself in the emotions of those who consume her meticulously prepared dishes.
Released in 1992, director Alfonso Arau realized Esquivel’s book and screenplay as an amber-hued period piece, particularly in the recipes captured on screen. However, the innocent beauty of Lumi Cavazos as Tita is the main reason the movie works so well. Her devotion to the culinary arts pales in comparison to her love for Pedro, her older sister’s husband. Being the youngest daughter, though, she’s trapped by tradition to forever care for her iron-hearted mother, Mamá Elena. Regardless, Tita finds her power by cooking for those she loves, an extension of her heart that affects them all in surprising ways. In the end, love does triumph, but she must endure several tragedies to reach that destination.
A novela aspect does exist in the film thanks to the steely presence of Regina Torné as Mamá Elena. Also, Arau’s visual ambition does overreach a bit in terms of its magical realism. Still, Cavazos pulls the film through in every scene, a relatable heroine for any generation, as illustrated in this scene from the film (presented in its original Spanish).
I think what I love most about Como Agua Para Chocolate is its blend of nostalgia and culture. It remains a seminal film of the 1990s, reigning as one of the most popular international movies of its time. More, it brought Mexico back into the fold of world cinema for a new generation. After years of exporting broad comedies about female truck drivers and narco life, film enthusiasts of Mexican cinema no longer made do with just a steady trickle of what was considered the “art film.” This genial, romantic period piece broke that cycle with great success, giving way to a powerful group of Latino cineastes that continue to influence cinema today.
Created by Jac Schaeffer
Directed by Matt Shakman
Based on Scarlet Witch by Stan Lee & Jack Kirby and Vision by Roy Thomas and John Buscema
Starring: Elizabeth Olsen, Paul Bettany, Teyonah Parris, Randall Park, Kat Dennings, and Kathryn Hahn
I’ll be honest in saying I watch very little in terms of today’s television series. I’ve spent one too many months re-watching The Golden Girls, Designing Women, and that 80s relic It’s a Living, an admission that will probably prompt an intervention. I don’t read recaps, and I feel the leading streaming platforms only care about a young audience. Then, I saw the teaser for Disney+’s WandaVision, which led me to the first episode, exploding this old geezer’s brain.
Led by the dynamic duo of Elizabeth Olsen and Paul Bettany as Wanda Maximoff and Vision, this glorious extension of Marvel’s Avengers universe is not just for the supers crowd. Oh no, far from it. It does help to have a little knowledge of these characters going in, but it is so well crafted, I honestly don’t think it will matter. The premise is that solid and affecting. Imagine loving someone so much; you find the power to remix the physical world to bring him back from the dead.
Now entering the home stretch on Disney+, what makes these final episodes compelling is discovering the true depth of Wanda’s pain and the power it has unleashed. The loss of her great love, Vision, continues to overwhelm her, something she refers to as a wave that keeps taking her down whenever she finds the strength to stand again. Emotional poetry exists beyond the clever homage to the classic situation comedy tropes that frame most of WandaVision. Each lushly produced episode looks and feels like a motion picture, action-packed and large in scale. The devil is in the details, with a nostalgic aesthetic expertly woven in and out of our present time with breathless pacing that does not overshadow its emotional impact.
Thanks to a winning ensemble, especially the comic brilliance of Kathryn Hahn, the show within a show format feels ordinarily human and extraordinary at the same time. With one episode left ahead, how WandaVision decides to conclude this mesmerizing season is anyone’s guess. For those new to the party, the chance to see it all unfold in a marathon sitting is on par with being in a move theater again. Rest assured, this isn’t hyperbole from a fanboy. You’re in for one of the year’s most engaging series on television today.
It is hard to believe we’re heading into the first anniversary of our collective pandemic lives. To be honest, it feels great to share a little something with the Club again. I look forward to sharing more Club entries as the year continues. By the way, I’ve moved on from The Golden Girls to enjoy watching all seven seasons of The Mary Tyler Moore Show. I’m on season 4, and I have to say, it is way better than taking Lexapro. Let’s turn the world with a smile! Hasta pronto, mi gente.
Hola, mi gente! Feliz Día de los Muertos from the Carreón Cinema Club.
One of Latin America’s most revered cultural traditions, the Day of the Dead, has infiltrated el norte with gusto. Even Target gets into it these days! However, what thrills me more is how a particular group of filmmakers endeavored to craft two fantastic animated films that have broadened the reach and power of these special days celebrating the dead.
First up, Jorge R. Gutierrez’s gorgeous and inventive 2014 adventure, THE BOOK OF LIFE, produced by Oscar-winning director Guillermo del Toro, nominated for a Golden Globe Award as Best Animated Feature Film.
If that wasn’t enough, Disney/Pixar wasn’t going to be left out of the ofrenda, creating the 2017 family classic COCO, directed by Lee Unkrich. But something tells me you already know a little something about that not-so little blockbuster. (Hint: It received two Academy Awards, including Best Animated Feature Film.)
Both films remain heartfelt and poignant to me, but I have a special place for THE BOOK OF LIFE. The visual artistry devised by Gutierrez and team is so original, emulating the love and passion of Latino artisans in several mediums and multiple generations. The textures, the colors, and Mexicaness of it all live in the myriad details that populate the screen. If you haven’t seen it, please make an effort to add it to your family viewing choices.
Until next time, amigos! And por Dios, subscribe to the Carreón Cinema Club already!
For as long as I can remember, movies were my refuge of choice whenever the world felt like it was out of control. Even more so than books, films were that perfect, transcendent experience.
Genre did not matter to me, at least not at first. I allowed myself to be transported beyond worlds big and small with time, from fantasy to gritty realism, from historical epics to contemporary narratives of great emotion and truth. It didn’t matter the language, either. What mattered most was what captured by the camera and how it made me feel. At 53 and with over 25 years of working in the film industry, the education I’ve received introduced new perspectives and profound respect for those who dare to engage an audience.
With today’s comment box mobs raking most efforts through the coals instead of offering profound analysis, it is hard not to take offense. If you don’t like what you see, make your own damn film. See how it feels! Worse, in this era of YouTube and TikTok stars, I fear the historical significance of so many masterworks from the past will simply turn to dust.
While I understand streaming platforms’ entertainment value, I admit I was slow in making them a part of my viewing outlets. I still prefer sitting in a plush movie theater, a luxury I sorely miss during these days of the pandemic. When I do connect with the streamers, I find more comfort watching television series from the past than anything of the moment. Some days you just want a nice grilled cheese sandwich with a hot bowl of tomato soup, right? In reality, I accept not being the demo for most mainstream streaming platforms’ original programming. Thankfully, friends and colleagues have offered sublime alternatives, which has turned my living room into an international film festival.
A pattern is emerging from what I’ve made time to watch these last few months. Seeking distraction from what ails us is not always an admission that serious events undermine our fragile and privileged peace of mind and ways of life. It is essential to be aware, to make a difference through educated activism or donating to a cause, all actionable outreach, to ensure these dark days are not the harbinger of worse things to come. My motivation to turn away from social media, in particular, was to stop screaming into a void, to not contribute to the virtue signaling of hashtag politics, and to fully restore a sense of civility and humanity, at least in my sphere of living.
I’ve found so much to ponder and marvel thanks to The Criterion Channel, Kanopy, and the TCM App. While Hulu and Amazon Prime possess some gems, I didn’t expect the sites mentioned earlier to remind me why I fell in love with film oh-so-many years ago. Expertly curated, they offer a window into the world, past, present, and even a bit of the future. From a personal level, I find my faith in the creative process restored as I reflect on the universal themes and emotions that inspire us to write, act, and roll the cameras.
We don’t know what lies ahead in our shared futures, but I resolved to view 2020 as a bittersweet gift. This painful reality we continue to witness is a much-needed moment to take stock and build a better self. We may never get a chance like this again. Why not look back at our world film history and see what we can carry forward in terms of the art we seek? In any language, the power of cinema is its ability to capture a moment in time. For however long the feature lasts, you know events happened, a group of likeminded artists lived it, and their record of said events remains eternal. You will feel the best part, for at times you can’t help but think it still can be a beautiful life, indeed.
Since I was in middle school, I wanted to be a film critic. My first printed reviews were on David Lynch’s “The Elephant Man” and the classic comedy “9 to 5,” starring Jane Fonda, Lily Tomlin, and Dolly Parton, both released in 1980. Amazing what can happen to a young David Ansen in 40 years. My career took its path through studio film publicity before reaching its peak as a content producer/interviewer. Still, I never lost sight of that first dream, even achieving it briefly for the excellent Latinx entertainment news site Desde Hollywood. That’s what brings the Carreón Cinema Club full circle.
The Club was inaugurated over a decade ago when my siblings and I would take my late father to the cinema every weekend to see the latest blockbusters. We created this joyful tradition before Alzheimer’s ultimately made it difficult for him to participate during the summer of 2018.
Up until that point, Dad never missed an opening weekend thanks to us. His reviews would often make us smile because you can see he enjoyed being with us in the dark, eating popcorn, and escaping the world for just a moment, too. Dad left us in February 2019. It is that smile of his that guides me through this next project at hand. I will always picture Dad sitting next to me, offering some popcorn or reacting to the film’s incredible sound design on the screen with a “thumb’s up.”
In the days ahead, you will see capsule film reviews highlighting the best of what certain streaming platforms have to offer. Curated with classics from around the world, Hollywood blockbusters, bad movies to love, and other cinematic gems worth your time, the CCC is here to offer a break from what ails us all. A bolt of positivity, no snark, awaits. Either way, it is with the love and emotion that started the CCC I hope translates onto the video chapters to come.
The rise of Trumpism has torn the veil off of 21st century America and what lies beneath is a roiling sea of hatred towards all non-white groups. It seems no one is immune from this cancer. Just view any of the iPhone videos of unbridled rage shot on location at hotel pools to Starbucks to any grocery store of late.
I can’t help but shake in rage when I think how mainstream media was complicit in giving Trump and his minions a platform that is part-revival tent and part- propaganda machine. By reporting and repeating his often wildly untrue statements designed for maximum collateral damage, the effect is not to inform the masses, but to give the Trump machine more steam and crucial validation.
Before the election, I found it unfathomable that we’d live in an era where a U.S. President would turn to social media to handle world affairs in the manner of an unhinged youth suffering from Twitter Tourette’s. The very thought of such a political figure leading the greatest nation on Earth as if he’s the oligarch of the Troll Nation churned my stomach. It couldn’t possibly happen here, right Sinclair Lewis?
Now we have the children of the undocumented living in detainment camps on American soil.
What we decide to do about Trump and his rabid fan base will define the next generations of our nation. But we have to start paying attention. We can’t turn away or tune it out, people. We can’t distract ourselves with cat videos, endless phone swiping through the digital swamps of clickbait nonsense, Beyoncé & Jay-Z’s new album or whatever it is we do to pretend our lives are hunky dory.
We are at war for the soul of this great nation. To avoid service is to call yourself a deserter. You do not warrant a place in this nation once we put down our arms to vanquish the Orange menace, the entitled, rich white men who’d rather see us corralled up like animals and treated like garbage. You are no better than them in thinking it is someone else’s problem.
We cannot be complicit in our silence. You see, it won’t stop here, this flouting of human and civil rights. If we allow these camps to continue, Trump will allow for them to grow in numbers and the parameters can only be broadened from here. Citizens may find themselves behind those gates just because they fit a government profile that can change at any given moment.
Camps have happened here before. Like all the evil that men do, a precedent exists. We have the power to look back in anger and do something with that emotion to make sure it doesn’t happen again. That’s the beauty of history. The clues. The answers. The best-laid plans are present for us to make our futures better. Yet, we are the fly in the ointment. Our apathy and divisiveness make us so.
Walls. Chainlink fences. Camps. These are devices engaged by the weak and cowardly to keep control and power. But these are also man-made constructs. And it is men and women of great courage and faith in the goodness of humankind that will take them down. Change cannot be contained. This is our chance. Make your voice heard. Speak your truth.
Here’s mine: I am the gay son of Mexican immigrants, people who chose to become citizens of this great nation. To witness the children of other Latinos in camps is a slap in the face of all immigrants who created America. We must become the change we want to see in the world before we are all on the other side of that fence wondering what the hell happened.
After you’ve taught the world how to be a Latin lover, what do you do for a follow up? If you’re an international comedy star, you offer the world an unexpected new twist on one of the most beloved romantic comedies of the 1980s and go… “Overboard.”
Since his groundbreaking American film debut in 2013 with “Instructions Not Included,” Mexican actor and filmmaker Eugenio Derbez broadened his audience further with the 2017 box office hit “How to Be a Latin Lover.” Seeking a new challenge, Derbez and production partner Benjamin Odell knew they set the right course in taking on the famed 1987 romantic comedy “Overboard.”
Several industry heavy hitters had already tried to find the right combination that would take the film from being a mere remake to a filmed entertainment that spoke to a generation that, incredibly, may not be familiar with the original. Recasting the roles played by powerhouse duo Goldie Hawn and Kurt Russell would not be enough. The basic premise of sweet, vengeful justice that happened to blossom into an unexpected romance also would need an update.
After much planning and discussion, this bold, new “Overboard” was ultimately set forth on a journey that would reflect the diversifying image of mainstream American cinema. Genders would be reversed, giving Derbez and blonde comic dynamo Anna Faris a chance to put their mark on the characters essayed by Hawn and Russell. More, the identity of the film would take on a multi-cultural one, mirroring the audience that continues to impact more than box office revenue. The end result can only create a splash of its own. Find out how this “Overboard” set sail in the following Q&A with stars Eugenio Derbez, Anna Faris, and Eva Longoria.
“Overboard” opens citywide on Friday, May 4th.
JORGE CARREÓN: What is it about the original that makes people smile, even today?
EUGENIO DERBEZ: Goldie Hawn. I love her. She’s amazing. She’s adorable. She’s charming. She’s funny. She’s everything. And the story is interesting, you know? This clash of cultures is funny when you see the rich against the poor and then they switch, and they torture her.
ANNA FARIS: I love the original so much. I grew up watching “Overboard.” It was my sick day movie! It feels like I watched it every day. It was the movie that my friends and I could all quote.
EVA LONGORIA: It is such a classic film! I love the original. I love Goldie Hawn. I love their love story!
CARREÓN: What makes this take on “Overboard” special to you?
DERBEZ: Flipping the genders was fresh because we wanted to break stereotypes. The normal thing to do is I would play the carpenter and Anna (Faris) would play the billionaire in the yacht. But it’s a different world. When you want to do a remake, you do it because you love the movie. If you start changing too much it becomes another movie. We were careful in not losing the core of the original story.
FARIS: I’m thrilled to be a part of it. it’s also terrifying because When I was approached with the project, I was incredibly flattered but I also felt like these were huge shoes to fill. But, I couldn’t resist it, so we’ve reimagined it. The Kurt Russell character is played by my me and Goldie Hawn’s character is played by Eugenio. I think we’ve updated it and I hope that it satisfies fans of the original.
LONGORIA: There are movies that you go, “You cannot touch that!” I thought this was one of them. When I first read the script, I wanted to not like it. [LAUGHTER] It’s a reinvention more than a remake. The role reversal makes more sense now if you think back to the original. This role reversal is a little more accepting because it’s the guy who is going to do hard labor in the house. He should. [LAUGHTER]
CARREÓN: The gender reversal of roles is just one layer of this new imagining of “Overboard.” Eugenio, what did it mean for you to take on the role played by Goldie Hawn?
DERBEZ: It’s typical that in Hollywood you always see the Mexicans playing the gardener, the immigrant. But there are other kinds of Mexicans. Many Americans don’t know that one of the richest men in the world is Carlos Slim. That’s why I decided to play this Mexican billionaire as if he were a Carlos Slim type. What I loved the most is I got to play two Leonardos. The Leonardo who’s rich and the Leonardo who’s poor later. But, it was a real challenge playing the billionaire. When I watched the original movie, one of the things that I really loved from Goldie Hawn was that even though she portraying a mean and terrible human being, she was always charming. And I was like, “God, I need to find the way to do the same thing!”
I wanted this guy to be, even though he’s a jerk and he’s always mistreating people, I wanted him to be charming and lovable. That was the challenge. Although, I did love being the billionaire more than the other Leo because it had more room to play.
CARREÓN: How about you, Anna? How did you want to make your role as Kate resonate in this new context? Is she an extension of your real self?
FARIS: I think that every character that I play of course has a degree of me in it because I think that’s how you sort of attempt to embody a character. I love Kate because I could recognize her sort of desperation. She wanted to be able to do the right thing. And yet, there’s this temptation. She succumbs to it and takes Eugenio’s character out the local hospital when he’s suffering from amnesia and convinces him that he’s her husband and that he also has three jobs and must now support her family. [LAUGHTER] That sounds pretty horrendous! But, I like that Kate was very real to me. She’s funny and gritty and she’s working her ass off to raise these kids and to try to make ends meet. It makes me feel like a lot of the people that I grew up with. Hopefully, it’s honoring the idea of how just hard it is for working single women and people.
CARREÓN: It is important to be able to trade comedic dialogue with an actor who’s also adept at bringing the funny. How was it creating a bond as Leo and Kate?
DERBEZ: Anna and I clicked from the moment we met. There’s nothing better than having chemistry with your co-star. Anna was exactly as I imagined. She’s funny, she’s amazing, she’s full of energy, she’s always making jokes. It was easy to work with her because she’s always feeding you with funny stuff. During takes, I’d be enjoying her performance as if I was watching a film! I’m like, Sorry I wasn’t reacting! I was watching Anna!”[LAUGHTER] Besides it is a little bit freaky because she looks like Goldie Hawn. You can’t imagine how similar she is. There were a lot of takes where I was watching her and thinking, “Oh my God, it’s exactly like Goldie Hawn!” I loved that.
FARIS: I couldn’t adore Eugenio Derbez more. He’s got these big eyes. He’s innately charming. He’s hysterical. Our first day of shooting we were stuck in a car on a trailer together. And we hadn’t spent that much time together except for a couple of rehearsals and a couple of meetings before. And I was just like chatting his ear off. And I remember him looking over at me with like sort of this look of confusion. I’d like to think also he was charmed by my chatty Cathy business I was doing. [LAUGHTER] We both come from this comedic background. We both have though dramatic undercurrents in ourselves. We talked a lot about acting throughout the course of the movie. I admire him so much.
CARREÓN: One of the revelations from these interviews is that Eugenio admitted he and Anna are both insecure when it comes to performing. Why?
DERBEZ: Well, she’s so humble. Anna is one of the funniest comedians in Hollywood. English is not my first language. It’s hard for me to perform in English. I was always curious about whether I could be funny in English? People say I’m funny in Spanish, but I’m not so sure I’m going to be able to crossover in English. Every day I would ask Anna, “Was I funny?” She would say, “What are you talking about? You were really funny!” Then she’d be the opposite, “I think I wasn’t funny.” And then I’d say, “What are you talking about? You’re really funny! You’re Anna Faris!” I think all actors in the world are insecure, but probably more so if they’re comedians. [LAUGHTER]
FARIS: I don’t know how Eugenio does it. We were just talking about that just a sec ago. Like, I was like how do you do this. How do you, how do you, it’s just incredible to be able to speak and act in a language that’s not your first!
CARREÓN: Do you think a cross-cultural romance experienced by Leo and Kate is a risky move for a mainstream film today?
DERBEZ: Yes and no at the same time. We’re going through rough, tough times. But it’s time to make a statement. I think America is a great country and it’s built by many groups of people, not just one. I’m Latino and Latinos have been doing great things here in the U.S. In a certain way, we’re telling people that anything can happen. This is America. That’s life in America.
FARIS: I loved the idea. I hope that this movie can touch different cultures, different generations. It feels progressive in that way. I love it that we have these incredible Mexican actors in our movie. I love it that we speak Spanish. It feels like next generation as well and I feel to be a part of that. I think that is something that makes this movie stand out.
CARREÓN: The new “Overboard” also has a secret weapon that wasn’t part of the original film, which is the scene-stealing Eva Longoria as Kate’s best friend, Theresa.
FARIS: The first day Eva came to set she ran up to me, and mind you, I had never met her before. She gives me this massive bear hug and she’s just like, “You and I are going to be best friends.” And I was like, “Oh my gosh! You are a dream!” I loved acting with her. She’s just an incredible person and an amazing actress. I think that there can be a sense of competitiveness sometimes, which many of us have experienced in the past. It’s wonderful to be at a place in life where no one is bringing any of that to the table. I just love her so much. We should definitely play buddy cops or something in another movie! [LAUGHTER]
LONGORIA: It is just so fun being able to play off Anna. I’ve been such a huge fan of hers my entire life, from “The House Bunny” to the “Scary Movie” franchise to “Mom.” She’s just such a talented comedian. She has this natural instinct for comedy. She’s really great with physical comedy, so doing scenes with her has been a lot of fun. And to play her confidant and to be able to play off each other has been a dream for me.
CARREÓN: How important was it to have all roles not depict a cultural or gender stereotype?
FARIS: There’s been this wonderful sort of awakening, where we have brilliant writers and our directors and screenwriters creating material that’s multi-dimensional and doesn’t fall into a particular category. I love that Kate, my character, had dialogue could have easily been played by a guy. It feels great to have anything that sort of fits into a box that’s conforming in any way. Hopefully, we’ll see more roles played by all different kinds of people.
LONGORIA: We’re taking steps forward in the right direction with diversity in film. We have to do more and it starts behind the camera. Eugenio’s directing and producing. I’m directing and producing. When you have the viewpoint of a diverse person, what’s in front of the camera is bound to be diverse. We are taking small strides, day by day. The landscape of America is changing, and changing in a Latin way, I think that will eventually be reflected in television and film.
CARREÓN: What’s been the most compelling aspect of having creative control over a film project? A great example with “Overboard” is its diverse ensemble, particularly with the talents of such acclaimed Mexican actors as Cecilia Suárez, Mariana Treviño, and the great Fernando Luján as Leo’s family.
DERBEZ: I’m basically hiring myself for every project. And I like that because I have a voice. It’s important to have a voice nowadays. I wanted to introduce some of our great Mexican actors to a new audience. They’re amazing! I loved doing that. And if I can be a bridge for all this great talent we have in Mexico, then I’m happy.
LONGORIA: I applaud what Eugenio’s been doing with his films in Hollywood as a Mexican actor. What’s been so wonderful to see is that he brings his culture with him. He brings the actors from Mexico with him. He’s never turned his back on his origins. He’s doing these bi-cultural films really well. They’re funny. They have general themes. Universal themes that a general market can enjoy and I think that’s the key. That’s why “Desperate Housewives” was so successful worldwide because you deal with universal themes that everybody can relate to. If you do movies about love and romance and divorce and heartache and jobs and child raising and death. I mean, those are things everybody can relate to. And then you make it a comedy? [LAUGHTER] It’s enjoyable to watch. I’ve had these moments where I look around the set and I get chills because there are so many talented actors on the set, but there are also so many diverse talented actors on set. It’s very rare that you go onto a movie set and you see actors from Mexico City doing an American film. And that’s really what I applaud Eugenio for.
CARREÓN: Expectations versus reality. Which did you all enjoy more? The scenes on the yacht or the ones on land?
DERBEZ: We were all so happy the day they told us were going out into the open sea on a luxurious yacht. Then we had to reduce the crew because we all couldn’t go onboard for weight purposes. In the end, we couldn’t wait to finish shooting on the yacht. [LAUGHTER] It was so hard! The interiors of the yacht were covered in plastic to protect the walls, the furniture. We were standing up most of the time. We’re sitting on the floor. It was packed. You couldn’t walk around. You couldn’t bring food inside or drinks. All of us had to have lunch outside. It’s Vancouver. It’s Canada. It was freezing. It was so windy! The scenes on the jet with the beautiful women in bikinis? We were all shouting and yelling and laughing. When I came back to the yacht, and the crew said, “You all looked like you were having a lot of fun!” I said, “No! We were freezing. The water was cold! Those were shouts, not laughs!”
FARIS: I loved making “Overboard.” Just the thrill of getting to be a part of it is amazing to me, one I could never have imagined as a child. I also loved that our directors and Eugenio gave me a sense of freedom. There was a lot of improvisation, plus the idea that we’re telling a romantic journey in an unconventional way.
LONGORIA: We had a funny scene, Eugenio and I with the condoms. That’s all I’m going to say. I’m going to say is Eugenio Derbez, Eva Longoria, and condoms. Watch the movie. [LAUGHTER] I loved anything with Anna. I loved my screen husband Mel Rodriguez [who portrays Bobby]. You have no idea. Mel and I have known each other for 18 years. Every time we had a scene together, the director was like, “More of that!” Now we have to go do a show together. We’re that good together. It feels like we’ve been married 20 years. We’ve all had a lot of fun, but the water scenes were rough. It was raining, it was freezing. It’s probably some of the funniest stuff we’ve shot, the end of the movie, the little boat chasing the big boat. I think people are really going to enjoy it.
CARREÓN: What do you hope audiences take away from watching “Overboard?”
FARIS: It ultimately becomes a love story. What Kate and Leo bring out in each other is eventually the best in each other. Leo becomes a version of himself that he didn’t know he had in him. And I think Kate’s walls get broken down. There’s something really interesting in the idea that this man who has everything that the world could offer and he somehow finds reward in having a family and a simpler life. It’s the idea of what money can’t buy.
LONGORIA: People can expect a lot of fun out of this movie. They’re going to want to go on this journey with these characters, between Kate and Leo and their families. I feel like there’s a desire for a movie like this right now, especially in the world we’re living in. We want to escape into a beautiful place, a happy place. You want to experience someone else’s journey and not think about your own problems. [LAUGHTER] This movie’s going to do that for you.
DERBEZ: It was a challenge and a great responsibility to do a remake of this great film. When we hired writers Rob Greenberg and Bob Fisher and we read the final script, we were thrilled. We first talked to MGM about flipping roles and they were like, “No! This is an iconic movie. We don’t want to go that far!” They read the script, and they were like, “Oh my God. We love it!” We have a great movie. I think we have an amazing movie. Funny, interesting, and with a lot of heart. It has everything and it’s a roller coaster. It’s a family movie, too, which is a plus. I like doing movies for everyone.
**The interviews with Eugenio Derbez and Eva Longoria were completed on location in Vancouver during production in June 2018. The Anna Faris interview was completed in Los Angeles in January 2018. The transcripts have been edited for this piece.
The “Overboard” English and Spanish featurettes were produced by Jorge Carreón at Monkey Deux, Inc. for Pantelion Films.
Edited by Kate Ryan (English) and Steve Schmidt (Spanish), the featurettes are included courtesy of Pantelion Films.
If you know my family, you’ve probably heard the tale of “The Adventures of Dad, Jorgito, and the Golden King Tut Ticket of 1978.” It remains one of our favorite stories because it has everything, laughter, drama, realizations about a child’s true nature, and mummies. It makes sense that it includes mummies since most Latino families embalm all sorts of moments they can drag out from their tombs now and again. It usually happens at a family gathering, especially during the holidays.
But I digress. First, a little context to our Tut connection.
From 1976 to 1979, the treasures found in King Tutankhamun’s tomb toured seven U. S. cities, including Los Angeles. The exhibition was a wild success, to put it mildly. “King Tut Mania” was the only pyramid scheme destined not to bankrupt the regular folk. It was as if a Cecil B. DeMille film had come to vivid life, seeing images of these treasures. The mystery, the glamour, the history! All of it was on display, centuries of history and wonder behind glass. Angelenos lost their minds when the tour arrived at the L.A. County Museum of Art. About eight million Americans made the trek nationally to the “Treasures of Tutankhamun” when it hit their chosen cities. More than one million visitors were tallied in Los Angeles alone. And I represented two of those entries at LACMA, which is a family legend today.
A total history buff, my Dad was absolutely caught up in the Tut-related fervor. A factory beside his was manufacturing swag to cash in on the rabid demand for merch. He’d bring home such replicated artifacts as Tut’s funeral mask, a small statue of the goddess Isis encased in a lucite pyramid. Yes, these were factory rejects, but so what? It was so rare to see Dad get excited by such things, but his pragmaticism meant he was obsessed with science and history. He loved truth and facts versus the fantasy and abstract represented by fiction.
Talk about your golden tickets. Even Willy Wonka would have raised an eyebrow in surprise. Reaction to the tour’s stop in L.A. was so intense and swift that NO ONE could get access after the lots were released and sold to the public. You’d think the Beatles reunited to play Dodger Stadium. One good thing that occurred was how some of the participating museums put together special programs for local schools, making free tickets available to groups of students. Dad was muy proud when I was chosen as one of the fifth graders from South Ranchito Elementary to visit with the Egyptian boy king at LACMA. It meant something to him that at least one of his family members would bear witness to this glorious exhibition of rarely-seen history, and it did not disappoint when my classmates and I made our way out to the museum on the day. It was better than any movie I’d seen about Tut or Egypt. All that imagery, long archived in history, was finally real and part of our time in the world.
A few weeks later, as the exhibition prepared for its departure, Dad had this wild notion of heading down to LACMA to see if we swing two tickets. As he always said, “The worse they can tell you is ‘No.'” So, we jumped into our aqua blue V.W. Beetle and made our way to the west side of L.A.
Dad had no problem sending me to the box office – alone – to see if any cancellations were available. (I don’t think any parent would do that today. I was 11 years old, and Wilshire Blvd. was still a mega-busy thoroughfare, even then. But it stands as a lesson in encouraging independence and resourcefulness in my mind.) Unfortunately, my inquiry at the box office did result in a not-surprising “No, kid.” Dejected, I returned to the assigned curb where I was to wait for Dad, who’d been driving around the block the entire time.
As I kept a vigilant eye out for our family Beetle, I felt someone tap my shoulder. I looked up to gaze at a handsomely dressed woman. She smiled this congenial smile and asked, “Are you trying to get tickets for Tut.” I didn’t think this was a “Stranger Danger” moment as she looked like she’d been to Bullocks Wilshire, the storied department store, which mattered to me back then. Haha. I think I said something like, “Yes, ma’am. But there aren’t any tickets.” She reached into her pocketbook and pulled out one of those Golden King Tut tickets.
“My friend isn’t able to make it, so why don’t you take it,” she said.
You could almost hear an angelic choir at that moment. I went from a “No” to a shocking “Yes!” Fortune favors the child left alone on a busy street, dammit!
I wish I remembered more of that exchange because I can only hear my saying, “Thank you, ma’am!” I couldn’t stop staring at that ticket, which is how Dad found me as he pulled up to the curb. I stepped into the car and yelled, “Dad! I got a ticket. Look!” He smiled this huge smile.
Then I said, “I’ll be right back. I’m going back in!” And boom, I was off!
Oh, how my family and I have discussed that moment of total selfishness. The lack of awareness. The utter glory of my young self-absorption! For years! Reflecting on that moment, I know my Dad would have never left me in the car while he walked through the exhibition. Although, he did leave me to my devices at the ticket office. Whatever. The important thing was for me to say, “Dad. Here’s the ticket.” For him to decline would be a lesson in how we sacrifice our needs and feelings. (See, Catholic guilt does start early!)
I don’t remember what I wore or even ate that day. I can’t pull up any descriptive details of our lives in 1978. I remember Dad’s dejected look as I turned and sprinted away. I didn’t spend as much time looking at the exhibits as I did the first time. I was painfully aware of Dad waiting outside by himself, which did make me feel a little self-conscious. Maybe I did realize what I did was pretty lousy. Despite the packed crowd gaping and crowing about the artifacts filling the galleries, it was a hollow victory because I was seeing them without my father. Maybe I didn’t know how to articulate these feelings then, but my early elation felt less strong as I walked briskly through the museum and out the door to meet up with Dad. He asked if I enjoyed it all the second time, and all I could say was, “Yes.”
As we walked to the car and started the journey home, I remember the long silence as he drove. I knew I hurt him a little. Once home, I also remember hearing Mom and Dad talk about my impulsive nature, my incredible luck, and my impulsive nature again. It was followed by laughter, but I knew I had disappointed them. (Hell, I’d live to disappoint them again and again, but this episode remains my favorite since it carries a better layer of charm and innocence.)
In the end, Dad and I would share a Tut experience in 2005 when “Tutankhamun and the Golden Age of the Pharaohs” appeared at LACMA. This time, the entire family made the trek to Wilshire Blvd. Of course, that adventure is marked by Mom loudly saying in the museum foyer, “Hmmm. This all looks smaller than the exhibition your father and I saw in Cairo. You know, in Egypt.” (Hahaha. Yes, we’re THAT family.)
That’s the upshot to the original Tut tale. My globe-trotting parents ventured to the land of the Pharaohs, experiencing an unforgettable view of the Tut treasures and more in Africa. As much as I envy them, I am also proud of my parents, who took their vacations in places far and away. They were our first adventurers, showing us how to explore the world without fear or hesitation. We were tasked to leave our backyards and see what lies beyond a museum brochure or a movie screen. As a result, we’ve also created our brand of history as a family.
Tut would dazzle us a third time in L.A. It’s been 100 years since the discovery of Tut’s tomb. This extensive collection of artifacts, the largest assembly of its kind, will be touring the world to honor the occasion, perhaps the last time they will ever be seen outside of Cairo. Naturally, the city of Los Angeles was selected by the Cairo Museum to host the world premiere of “King Tut: Treasures of the Golden Pharoah” at the California Science Center. Of course, members of my family and I made the journey yet again, and yes, the day is sold out. However, Dad won’t be able to make the trek to the California Science Center with us due to his current health issues. Mom and Neto were also down for the count due to having colds.
My family and I know we don’t need a reason to celebrate the 40th anniversary of “The Adventures of Dad, Jorgito, and the Golden King Tut Ticket of 1978.” It is a bummer to note that the glorious golden mask can no longer leave its home in Egypt. It means our spirit of adventure will have to take us to the heart of the Nile to see the pyramids and Sphinx and give them our best from our parents who stood there in awe and joy many years ago.
What a powerful full circle moment nonetheless, one I will share with Poppadoodles when we return from our visit with El Rey Tut. I am reluctant to write more now as I feel tears building up. I have so much more to say to Dad, from “Remember when?” to “Thank you” to “You were so right!” I’m afraid that conversation has to happen sooner than later and time is no longer on our side.
As my family and I take in these treasures anew, I can’t help but be reminded of the beauty of history. Wherever these essays may rest long after I’m gone, I hope people will appreciate the love and respect that remain hallmarks of my Dad as a parent and a human being. What I hope is unearthed years from now is that our history as father and son, and as the Carreon Family as a whole, was a precious one indeed.


Segmenting optical coherence tomography (OCT) images of the retina is important in the diagnosis, staging, and tracking of ophthalmological diseases. Whereas automatic segmentation methods are typically much faster than manual segmentation, they may still take several minutes to segment a three-dimensional macular scan, and this can be prohibitive for routine clinical application. In this paper, we propose a fast, multi-layer macular OCT segmentation method based on a fast level set method. In our framework, the boundary evolution operations are computationally fast, are specific to each boundary between retinal layers, guarantee proper layer ordering, and avoid level set computation during evolution. Subvoxel resolution is achieved by reconstructing the level set functions after convergence. Experiments demonstrate that our method reduces the computation expense by 90% compared to graph-based methods and produces comparable accuracy to both graph-based and level set retinal OCT segmentation methods.


AstroAI 220B 12V Portable Air Compressor for Car, Car Tire Inflator, Car Tire Inflator with LCD Screen, LED Light, Pressure Gauge and 3M Cable for Motorcycle, Bicycle, Ball, Car and Etc
MORE PRECISION & SPEED TO INFLATE > AstroAI 12V Portable Air Compressor, a new way to connect to the tire valve has been developed using two options: fixing and holding. Using the pointed clip is easier. And the final inflation value will be 0.5-1.5 PSI, which is higher than the desired value to reduce the pressure after removing the nozzle. And this one has the ability to inflate 195*65*R15 size tires from zero to 2.5 bars in just 5 minutes.
< GENERAL UNITS & DIGITAL DISPLAY > AstroAI 12V Portable Air Compressor has four measurement units available: PSI, KPA, BAR and KG/CM². The LCD digital display and LED light of the AstroAI 12V Portable Air Compressor is capable of displaying tire pressures with great precision, making it easy to see in low light conditions. Likewise, the built-in LED light allows you to examine the condition of the wheels in the dark or in low light situations.
< PROGRAMMABLE AUTOMATIC SHUT-OFF > Only select the pressure required to inflate the tires, since the AstroAI 12V Portable Air Compressor will automatically stop when said pressure is reached. NOTE: After prolonged use, the inflator needs to be turned off and cooled for a period of 10-15 minutes to prevent overheating.
< MULTIPLE USE > AstroAI 12V Portable Air Compressor With a 3-meter cable, it has the capacity to inflate all Schrader and Presta valves of cars, SUVs, motorcycles, bicycles and scooters. Likewise, it is suitable for inflating balls and mattresses. For use with alternating current, a 10 A or 15 A transformer will be required. NOTE: AstroAI 12V Portable Air Compressor is not suitable for LT, HT and truck tires.
< ACCESSORIES & ATTENTION > ATTENTION: This type of Corded Air Compressor can only be charged using the car cigarette lighter. And the Package Contents include AstroAI Portable Air Compressor 12V * 1, replacement fuse * 1, adapters for inflating cones * 2, inflation needle * 1 and valve caps * 3. And AstroAI Portable Air Compressor 12V can be used universally for cars, bicycles, balls, swimming rings and more.


text:
In this White Paper:
- Since the beginning of 2016, oil prices have slipped another 15 percent to their lowest level for more than 12 years.
- Production continues to be resilient, though as Stein’s Law suggests, if a trend cannot continue, it won’t.
- The new environment of “even lower for even longer” will have diverse consequences for different sectors of the oil and gas industry.
- We look at the prospects for each sector and consider the key questions they need to be addressing today to ensure their viability in the medium term.
"Earlier this month, oil prices slipped to their lowest level for more than 12 years. Despite this drop, output from both OPEC and non-OPEC producers remains surprisingly resilient. With supply outpacing demand by more than 1 million bpd, options for outlets are becoming limited and the “end game” for oversupply is expected to start soon, as prices plunge further, forcing some producers to shut in production. As prices slip below sustainable levels for many producers, we explore the implications for the different sectors of the oil and gas industries..."

domain: finance


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Carpool Karaoke or just a Creative Introduction, You Decide | Campus Tour 2019
This University of Mississippi Campus Tour was taken at University of Mississippi.
Tour GuideTerrius Harris
For our final interview, we decided to give you a taste of the magic of our favorite artists. Introducing one of my close and personal friend, here's Esmee.

domain: artistic


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How could you even upload this?
Lol. I DON'T KNOW!!!! BUT I'M REMOVING IT NOW!! (JK, I'M NOT). ;)
Thanks for the comment! <3
This is as good it could get.
Thank you for such kind words! Glad you like it:)
You are so fuckin strange
HOW DO YOU DO IT? I CANNOT UNDERSTAND BECAUSE THIS IS PERFECTLY MADE.
YOU MUST BE OF THE BEST ARTISTS OF THE WORLD.
No, I'm not XD but thank you.
newgrounds.com — Your #1 online entertainment & artist community! All your base are belong to us.


text:
As much as we hate to admit it, if you’re a woman who wants kids it can feel like there is an ever-present ticking time limit for when you need to try for a child by.
We’ve been told from a young age that our egg count ‘falls of a cliff’ from 35-onwards and for many of us, this means if we want to have children we have to start trying in our late 20s or early 30s. I say trying because for some couples, especially those facing infertility issues, it can take years to conceive.
15 mothers share what they wished someone had told them when they were pregnant
I’m one of those people who has always known that I want kids - but I also have this persistent feeling that there are so many places I want to see, things I want to experience and career goals I want to achieve before I even consider having a baby. A pre-baby bucket list, if you will.
Before the pandemic, I felt like I was on this trajectory. As a travel writer I’ve been lucky enough to visit some incredible countries and experience some once-in-a-lifetime moments (seeing the sun rise over the Sahara desert with my mum is something I’ll always cherish). But I can’t help but feel like the pandemic has thrown a rusty spanner in these plans.
A year of our lives has slipped away due to the pandemic and, as I edge closer to 30, I’m feeling the mounting pressure to ‘get it all done’ before that fertility clock gets louder. And I’m not alone.
Sarah Compton, 30, from Bedford says she took the opportunity to live out her pre-baby bucket list dream when she was made redundant.
“I used to be a product manager in London but I always dreamt of having my own homestead and so has my other half who grew up on a farm,” Sarah explains. “When I was made redundant, I knew I had an opportunity to start again. So my husband and I left the city for the countryside.
“Our house needs a lot of work, so before we pursue our second dream of starting a family I've been busy building chicken coops, hatching chicks, planting potatoes, composting and collecting eggs. Next on the list, we need to establish a pen for soon-to-be adopted goats, create a pond for our ducks, sort a rainwater collection system and, hopefully, finally use our several-times-rebooked tickets for a holiday to Greece!”
These are the best staycations for each star sign - because Aries and Cancer have different ideas about downtime
Friends I’ve spoken to recently feel the same time pressure, but why do we, as women, feel like we need to ‘get it all done’?
“For the majority of women, trying to work out the right time to have children can be a real head scratcher,” Pascale Lane, life coach, author and founder of the Surviving to Thriving membership group tells GLAMOUR.
“It's tricky because we have to balance career progression and biological clocks alongside time with our little bundles of love and financial security. It can be overwhelming and I think that's why so many women are choosing to have children later on in life now.”
Counselling Directory member and psychotherapist Kirsty Taylor says that it’s “undeniable” that women carry a greater mental load when it comes to thinking about having children.
“The ‘baby- panic’ that women often experience is anxiety about missing their chance to have a baby. With a biological clock designed to make women think about their fertility choices, a society that still tells us we should be having a baby by a certain age and with more expectations than ever before of the things we want to achieve before we’ve had children, it’s a huge amount of pressure and more than on any other previous generation,” Kirsty explains.
“There are certain milestones that are seen as almost box ticking exercises in terms of achievement - education, travel, marriage, career success, a home and all of these things take time to achieve and potentially delay parenthood.”
This incredible Chrissy Teigen-backed glossary will be distributed to doctors, clinics and classes as a call-to-action to change the way we speak to pregnant women and new and expectant mothers
Millennials, Kirsty said, is the generation that particularly feels that increased pressure to achieve these societal milestones.
“There has been so much change in the social expectations placed on women, and many of these are wonderful developments in terms of equality and advancement,” Kirsty says.
“However, these expectations have altered, and our biology has not. Our body is still designed to be having babies in our 20’s and early 30’s, and achieving this idea of a ‘pre-baby bucket list’ means many women are delaying children to their late 30’s and early 40’s, where the chances of conceiving are significantly lower.”
The best way to combat this pressure is to consider the priorities important to you, rather than what societal expectations we feel are placed on us. For me, I know I have my whole life to advance my career and achieve the things I want to achieve, but some of the travel that I want to do won’t be financially feasible after starting a family.
“You can travel the world with a small baby, but practically that would be more difficult than doing this before having children. If that is a life-long dream, then deciding to do that and potentially putting some other aspirations on hold might be a good solution,” Kirsty advises.
“It’s important to remember that it’s perfectly possible to continue to achieve a great deal after having children. We cannot ignore the fact that life will be altered dramatically and there will be more plates to juggle, but there is still so much that can be achieved whilst being a parent.”
Are you experiencing 'social hangovers'? There's a neurological reason you're feeling physically and mentally exhausted after seeing friends
I think that’s something that I, and many women in their late 20s and early 30s who are starting to consider having a family, need to remember. Just because we have a baby it doesn’t mean our lives have to drastically alter. While of course, our lives will inevitably change (no more dancing on Infernos' sticky floors at 1am), as humans we are built to adapt to change and sometimes these changes bring the greatest joy.
“Many women choose to go back to education, to pursue a life-long career ambition, to make changes that work for both themselves and their family once they have become a mother,” Kirsty continues.
“It’s important to really have a think about where these ideas came from in terms of getting it all done. Are these markers of success that we hold ourselves to really ours, or a combination of great expectations from family, friends and society? What do you want to achieve? What does happiness look like to you? These are the things that should be driving us, not the expectations of others.”
So while it might feel like you have to tick off everything on your pre-baby bucket list, remember you are still you after having kids and all of your hopes and dreams and goals are valid and can be achieved at any life stage.

domain: sociology


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Peter Waters grew up in London, England, tried his hand at acting in West End Theatre and was friends with actors. However, colouring hair was his true passion and he became one of the foremost colourists in North America.
If you run into Peter Waters at one of his favourite haunts around town, you might recognize him as an actor from any number of plays with the Revelstoke Theatre Company, or from his involvement in several other community groups.
You’re likely unaware he was one of the foremost hair colouring specialists in North America.
Hailing from London, England, Waters is a retired colourist.
Having apprenticed just outside London, eventually working in central London, Waters was friends with many professional actors in the vibrant London theatre scene.
“My roommate, Geraldine Gardner, was an actress on the West End theatres, so of course I coloured the hair of the actors in the original production of Chorus Line,” said Waters. “I used to meet her after her shows and we would go to restaurants that catered to actors after work. I met a lot of performers.”
Through late night conversation with these professionals (including the likes of Gardner, Anthony Hopkins and John Malkovich), Waters learned much about acting.
“One wonderful thing about these actors was that there was no intimidation,” said Waters. “They were kind and humble. I was very lucky, it was a wonderful time.”
Colouring hair and acting became two competing passions. Waters was cast in an off the West End production of King Lear. The show even went on tour.
“It was dreadful! The play should have lasted around three hours – our version took five hours,” Waters laughs. “And the director and actor who played Lear shared a girlfriend and were always fighting; it was a terrible atmosphere. After that I decided to stick with hair.”
While Waters may never have turned pro with his theatrical career, his job as a colourist brought celebrities to his chair.
“You wouldn’t know any,” he warns. “They were British.”
Waters worked and taught in several Vidal Sassoon salons in San Francisco and then London. Waters worked hair like an artist and he was on the creative cutting edge of the industry. His work eventually took him to Toronto. During his time there, a well known American stylist approached him about joining an artistic team he was putting together. The plan was to tour and put on large scale hair shows. Waters came onboard as the colourist. The team travelled throughout the U.S. and England.
“It was a wonderful time, one of my favourites lives,” said Waters.
Waters was, at the time, doing something very special in the world of hair colour.
“I based my colouring on impressionism and post-impressionist art,” Waters explained. “I learned to create different effects in hair.”
It was, quite simply, art.
Eventually, Waters took a permanent teaching job in Vancouver, where he stayed for eight years.“Then I met someone who lived just outside Pittsburgh. We were very attracted to one another and married in Vegas. But it was a total disaster,” Waters said. “It was a case of liking each other very much and thinking it was love.”
After 11 months, the two went their separate ways before Christmas. Invited by a good friend to spend the holidays with his family in Revelstoke rather than face the season alone, Waters came to Revelstoke. That was 20 years ago.
In Revelstoke Waters has made a home. Enjoying the environment, lifestyle and people, Waters has friends in every age demographic.
“And when it comes to hair colour, my passion is still there,” he explained.
Moving to Revelstoke is something Waters considers a blessing.
“Revelstoke is such a wonderful place. I have never had so many friends, I have never been so lucky to have so many people I love in my life.”
Read a 1995 article featuring Peter Waters here: http://articles.baltimoresun.com/1995-06-08/features/1995159024_1_curls-hyde-hair-color


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Is there a more user-unfriendly vegetable out there? And why, if they're such a pain to eat, does the Nitpicker keep eating them?
The BA Foodist traces the fat trend and asks chefs to please lighten up
And all the other quasi-official "Food Days," too. Except, says the Nitpicker, National Pound Cake Day--he's looking forward to that one
From General Tso's to authentic dim sum, the Nitpicker surveys the world's most popular cuisine and says: Nope! (Yes, he knows he's an idiot.)
What's the difference between a two-star Michelin restaurant and a New York Times three-star? Who knows anymore? Not the Nitpicker
It's the ReviewerCard, and the Foodist says it's not only blackmail--it'll get you punched in the nose
Is there any greater miracle than ordering food to your door? And is there any greater tragedy than when it doesn't show up on time?
Tesco shoppers are upset about horse meat in their burgers. But in some cultures, horse is a common ingredient. How does it taste? Matt Gross explains
The Girl Scouts have unveiled a nasty new cookie. But it's nothing compared to the horrors Jason Kessler uncovered in the Scouts' Test Kitchen
The Nitpicker is stuck in a rut, ordering the same things from the same places. Is he too lazy to switch, or just too cheap? You decide!

domain: food


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After your “I Do’s” are said, the last song is played, and the cake has been cut you are left only with happy memories from your wedding day and your pictures. Your pictures will last forever, and will be something that you can refer to and remember the best day of your life. It is so important to hire a professional photographer to capture the magic of your wedding day.
Look through the wedding portfolio galleries of potential photographers you want to use for your wedding day. Think about your style of photography you are interested in, and choose a photographer that fits your style. Are you mainly interested in breathtaking, posed portraits or candid shots, or natural/ storytelling style photos? Talk with the potential photographers you are interested in, and listen to what their photography style is. You may be interested in all three, and you want to pick a photographer that will be able to best create the photography style you want to achieve through your photos.
There is nothing worse then feeling uncomfortable in front of the camera. Pick a photographer that you feel relaxed and comfortable with. This will help to make your pictures feel more natural and display genuine emotions for one another. It would be great to have your photographer take engagement pictures, this will allow you and the photographer to know what works best for you when snapping pictures--plus you will have already established a since of trust and comfort with the photographer before your wedding day.
This is a beautiful Fall engagement picture of one of our precious couples getting married this May.
Find out how long it will take for your pictures to be edited, and when you can expect to see proofs. Keep in mind that after your wedding is over, your photographer will spend countless hours editing all of your pictures from the day. Make sure to find out if you will receive a CD or USB of all of the pictures, or if you have to buy pictures through the photographer. If your photographer retains the rights to all of your photos, this means that every time you want a picture from your wedding you will have to order it through the photographer at whatever price he or she sets. Be aware of what you are getting before you sign the contract!
Find out how many photographers your package is for. I recommend getting two photographers. When everyone else is looking at the bride, I always look at the groom. There is nothing sweeter than capturing the look on the groom’s face when he sees his bride walk down the aisle towards him! That is one of my favorite parts of a wedding. So many special moments are captured by having two photographers! If only one photographer is included in your package, find out the cost of adding one more photographer--the pictures truly will be worth the extra cost! Promise.
This picture of the groom says it all! We loved working with this sweet couple for their January wedding.
Give your photographer as much detail as possible on the important formal shots that you want taken. Nothing is worse than remembering later that you never got a picture with family that traveled hundreds of miles for your wedding day! My husband’s aunt and uncle traveled all the way to Alabama from Illinois for our wedding day--which was so special to us. We don’t have a formal picture with them at our wedding, and that is a picture that we will always wish we had taken. You think you will remember small things such as specific people in pictures--but you won’t. Make a list of all of the family formal shots that you want to have taken. Write down the names of each person that will be in each photo or provide a list of family members names on each side for the photographer. The more detailed your list is, the better!
This was one of our sweetest brides that got married in January, such a beautiful bride!
Let the photographer know if there are any specific pictures that need to be taken. If you made cute, DIY projects let your photographer know you would like those details captured. If you will have a special, surprise dance let your photographer know so she can be ready to take as many pictures as possible during the surprise dance. I made my husband a basket of goodies with a scrapbook of why I loved him, and couldn’t wait to marry him. I wish the photographer had taken a picture of the basket, and took pictures of my husband as he was looking at the scrapbook and opening the basket. I would have loved to have seen his face reading the scrapbook that I spent a lot of time making for him! Your photographer won’t spill the beans--he or she will keep the secret, and be ready to take the pictures of the special surprise--as long as he or she knows to expect the surprise!
A good photographer will help you create a timeline of all of the pictures to be taken on your wedding day. You want to document everything--from getting ready to your grand exit. You do not want to feel rushed on your wedding day, and a good photographer will make sure that you are not rushed to take pictures. You don’t want your pictures coming back and you look stressed! I do suggest breaking the tradition of not seeing your groom before the wedding. Taking first glance pictures will definitely help with your timeline. Most of your formal shots are finished, and then you only have a few more pictures to take after the ceremony. This will allow you to have more time to enjoy yourselves at the reception. Plus your make-up and hair will be fresh--which will create better pictures. Win, win situation right there!
If you haven’t found your wedding photographer yet, check out Rebecca Long Photography. Rebecca’s style of photography is a natural/ story telling style--and the pictures are absolutely stunning! She focuses on making every couple feel comfortable, and takes pictures that represent each couple’s true interactions with each other.
We have had several clients that have used Rebecca Long Photography, and they are always so happy with the outcome of their crisp, color-rich pictures on their wedding day. If you hire Rebecca for your wedding photographer, you can be sure that you will have gorgeous pictures that tell the story of your wedding day from beginning to end that will last for a lifetime. Don’t wait, let Rebecca Long Photography capture the best day of your life--with one gorgeous, unforgettable photo at a time. Happy wedding planning!


Dell Inspiron 15 3551 Notebook (X560145IN9) Notebook provides you the best of both entertainment and work. The laptop features Intel Celeron processor which offers you ease to work and enjoy in a speedy and smooth way. The notebook comes with 4 GB RAM which enables effortless multitasking. The laptop comes with pre-installed Linux/Ubuntu which offers flexibility to install any other operating system such as Windows 8.1. Bundled with 500 GB hard disk, this laptop offers sufficient space to store maximum documents, music and movies. Further, the eye-catching and stylish design of the laptop is liked by one and all.


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Brown - Dark
Calgary, Alberta, Canada
Place of Death
New York City, New York
Cause of Death
Profile Bio Text
Phyllis Crane was a Canadian-born American film actress. She appeared in over 45 films between 1929 and 1937.
Modern viewers will recognize Crane from her appearances in several early Three Stooges films such as Three Little Pigskins, Uncivil Warriors, and Pop Goes the Easel. Perhaps her most famous role was as Professor Nichols` daughter in Hoi Polloi who Moe Howard tries to romance. While talking to him, she coos that he will find the "eternal spring" (the season).
Crane died in New York City in 1982.
Full Name at Birth
Phyllis Crane (August 7, 1914 – October 12, 1982) was a Canadian-born American film actress. She appeared in over 45 films between 1928 and 1937.
Has Detailed Data (New)
Dating Profile AutoText
Deceased||Phyllis Crane passed away on 12th Oct 1982 aged 70.|||

domain: entertainment


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Vintage Design Scalloped White Metal Soap Dish
Add charm and character to your kitchen or bath in this vintage designed soap dish. Counter-top ready, or mount on the wall above the sink or tub.
Pair with a soap saver trimmed to fit.
One time use only | Valid on your next purchase of $50 or more | We'll never spam you

domain: design


The best dremel bit for engraving metal is the 107 engraving cutter. It offers precision and control for fine lines and intricate designs on metal surfaces.
Engraving metal can be a daunting task, but with the right tools, it can be a satisfying experience. A dremel tool is an excellent choice for engraving metal as it provides precision and speed. However, the type of dremel bit to use is crucial in achieving the desired results. The 107 engraving cutter is the best dremel bit for engraving metal since it can create fine lines and intricate designs with ease and precision. This versatile cutter can work on various metal surfaces, including brass, aluminum, copper, and tin. With its sharp and durable tip, it can withstand high-speed rotations without breaking or dulling quickly. In this article, we will discuss the features of the 107 engraving cutter and how to use it correctly to achieve perfect results.
Factors To Consider When Choosing A Dremel Bit For Engraving Metal
Engraving metal requires precision, and selecting the proper dremel bit is crucial for success. Here are some key factors to consider when choosing the best dremel bit for engraving metal.
Hardness Of The Metal Being Engraved
The hardness of the metal being engraved is an essential factor when selecting the right dremel bit. Hard metals like steel and titanium require strong bits, whereas softer metals like copper or aluminum need softer bits.
Consider the rockwell hardness of the metal, and select a bit made from a material that can handle it. Common materials for dremel bits include high-speed steel, tungsten carbide, and diamond.
Desired Depth Of The Engraving
Determining the desired depth of the engraving will help to ascertain the type of dremel bit required. If a shallow engraving is preferred, choose a bit with a smaller cutting head. For deeper engravings, it is best to use a larger cutting head.
Cutting heads come in various shapes and sizes, including conical, cylindrical, and ball-shaped. Each shape produces a different depth and width of the engraving.
Type Of Engraving (I.E. Fine Detail Or Large Design)
The type of engraving you plan to create also plays a role in choosing the best dremel bit. If your design requires fine details, a tapered or diamond-tipped bit is essential. For larger designs that require quick material removal, a ball-shaped or conical tip bit is ideal.
Compatibility With Dremel Tool
Ensure your chosen dremel bit is compatible with your dremel tool. The dremel website provides comprehensive lists of compatible bits for each model, so be sure to check before purchasing.
It is also essential to verify that your dremel tool has the required speed settings for the bit you plan to use. Speed settings differ for each type of cutting head, so be aware of this for safety purposes.
Engraving metal requires a steady hand, high-quality dremel bits, and a bit of patience. Keep these factors in mind, and you’ll be on your way to producing beautifully engraved metal creations.
Top 5 Types Of Dremel Bits For Engraving Metal
Engraving metal can be a thrilling experience, creating stunning designs out of plain metal. But the process requires the right tools, and a dremel rotary tool is an ideal option for the job. To ensure successful engraving of metal, it’s crucial to select the right dremel bit for the job.
High-speed cutters are versatile and can work with several materials, including metal. These types of bits come in various shapes and sizes, making them a popular choice for engraving. High-speed cutters are perfect for creating simple designs and etchings.
Diamond bits are known for their durability and can carve through hard materials such as metal, gemstones, and glass. They are popular in the jewelry industry for their precision. Diamond bits are available in different grits, which enable artisans to engrave the most intricate designs on metal surfaces.
Tungsten Carbide Cutters
Tungsten carbide cutters are robust and can easily carve through tough materials such as stainless steel. They have a sharp edge that allows for precise cuts and engravings. Tungsten carbide cutters come in various shapes and sizes, making them versatile for metal engraving.
Engraving cutters are specifically designed for engraving designs on metal. They have a sharp point that can make initial outlines and can create shallow or deep grooves. Engraving cutters come in various shapes and sizes, allowing for intricate designs and personalized creations.
Grinding And Sharpening Bits
Grinding and sharpening bits are the ideal option for engraving metal with the dremel tool. They have abrasive tips that can sand and grind through metal surfaces, creating a beautiful finished look. They are also perfect for polishing and cleaning intricate metal designs.
Overall, the success of engraving metal with a dremel tool depends on selecting the right bit. With the descriptions above, you can make the best choice that suits your project. Happy engraving!
How To Use A Dremel Bit For Engraving Metal
Engraving metal can be a rewarding experience, especially when using the right tools. One of the ideal tools for this task is the dremel rotary tool, which features a range of bits that can effortlessly engrave metal surfaces. But, how do you use the dremel bit for engraving metal? Let’s delve into the details and learn more.
Preparing The Metal Surface
Before you begin engraving metal with a dremel bit, it is crucial to prepare the metal surface for the job.
- Cleaning the metal surface to remove dirt, grease, and oil completely.
- Smoothing out any rough spots on the metal surface using a sandpaper or file.
- Marking out the design you want to engrave using a pencil.
Proper Use Of The Dremel Tool And Bit
Using a dremel bit to engrave metal requires proper handling of the rotary tool.
- Choose the appropriate dremel bit for the project at hand. Diamond bits work best when engraving hard metals, and carbide bits are more appropriate for softer metals.
- Insert the bit into the dremel rotary tool and lock it in position.
- Adjust the speed of the tool to your liking and try it out on a small area before diving into the complete project.
- Hold the rotary tool like a pencil to get better control of the engraving process.
- Begin engraving the metal surface, following the design with gentle strokes. Take frequent breaks to avoid overheating the tool or causing discomfort to your hands.
Tips For Achieving Desired Results
Achieving the desired engraving results requires some practice, patience, and the right approach.
- Choose the right bit for your engraving job.
- Start with simple designs and gradually progress to more challenging tasks.
- Take frequent breaks to avoid fatigue, overheating, or frustration.
- Use a light touch to avoid damaging the metal surface or breaking the bit.
- Clean the bit regularly to prevent clogs and prolong its lifespan.
- Experiment with different bits, speeds, and techniques to find your preferred engraving style.
Engraving metal using a dremel bit is an exciting adventure that requires patience, practice, and the right approach. By following the proper handling techniques, preparation steps, and tips highlighted above, you’ll be well on your way to achieving the perfect engraving results.
Expert Tips For Engraving Metal With A Dremel Bit
Engraving metal with a dremel bit may seem difficult, but with the right techniques and safety practices, it can become an enjoyable and satisfying experience. In this post, we will delve into the best methods for engraving metal with a dremel bit and provide you with expert tips to achieve intricate designs. Additionally, we’ll highlight what not to do, so you can avoid common mistakes that can ruin your work. Let’s get started with the best practices for safety.
Best Practices For Safety
When working with a dremel bit, you must take specific precautions to ensure your safety.
- Wear safety glasses and a respirator mask to protect your eyes and respiratory system from metal debris and dust.
- Use a clamp or vise to secure your metal piece before engraving to keep it stable.
- Avoid wearing loose jewelry or clothing that can get tangled in the dremel and cause an accident.
- Keep your fingers and hands away from the bit, especially when it’s in motion.
- Use a speed that is appropriate for the material you are engraving to prevent damage or injury.
Techniques For Achieving Intricate Designs
Getting the perfect engraved metal piece requires skill and precision.
- Begin by sketching your design on the metal piece with a pencil. This way, you can get an idea of what your final product will look like.
- Use a round-tipped dremel bit to create intricate designs, while a flat-tipped one is better for filling in large areas.
- Start engraving from the center of your design, moving outward in a circular motion.
- Use light strokes and apply gentle pressure to avoid damaging the metal piece.
- Engrave in sections, taking breaks in between to avoid overheating the metal piece.
- Clean your metal piece after engraving to remove any debris left behind.
Common Mistakes To Avoid
While engraving metal with a dremel bit can be rewarding, it comes with some pitfalls if you’re not careful.
- Using too much pressure while engraving, which can damage the metal piece and cause chipping.
- Getting a dull dremel bit, which can result in uneven lines and an overall poor quality engraving.
- Holding the dremel at a wrong angle, which can change the shape of your design completely.
- Engraving onto a metal piece that is not clean or still has protective coating, which can affect the final product’s quality.
- Overworking an area, which can cause the metal to overheat and warp or discolor.
- Choosing a speaker rotary tool with the incorrect bit shape or size, which can affect the result of your work.
By following these expert tips for engraving metal with a dremel bit, you can create stunning pieces that can satisfy your artistic flair and impress others. Keep in mind the best practices for safety and the common mistakes to avoid, and you’re sure to create beautiful masterpieces.
The Ultimate Dremel Bit Guide
After reviewing the different types of dremel bits for engraving metal, we can confidently say that the best bit is the carbide engraving bits. Their toughness, durability, and precision make them ideal for etching intricate designs on metal surfaces without cracking or breaking. Additionally, the diamond-tipped engraving bits come in as a close second, as they offer the same level of precision and durability, though at a higher cost than their carbide counterparts. It is important to note that the choice between the two will depend on the user’s budget, the type of metal being engraved, and the intricacy of the designs. Whichever bit you choose, ensure that you follow proper safety measures, such as wearing eye protection and working in a well-ventilated area, to ensure a successful and satisfying engraving experience. We hope that this guide will provide you with the necessary information to choose the best dremel bit for engraving metal. Happy engraving!
Frequently Asked Questions For Best Dremel Bit For Engraving Metal
What Is An Engraving Bit For A Dremel Tool?
An engraving bit for a dremel tool is a small attachment used to engrave, carve or etch designs on metal surfaces.
How Do I Select The Best Dremel Bit For Engraving Metal?
Choose a carbide or diamond-tipped bit with a cone or a ball-shaped head for maximum control and precision.
What Is The Recommended Speed For Engraving Metal With A Dremel Tool?
For best results, set your dremel tool’s speed between 10,000 and 20,000 rpm when engraving metal.
Can I Use A Grinding Bit For Metal Engraving With Dremel?
Grinding bits can be used to engrave metal with a dremel tool, but they can be too aggressive and difficult to control.


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