From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #6769 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Monday, May 20 2002 Volume 14 : Number 6769 Today's Subjects: ----------------- Congratulations! You can get a $50 Kohl's gift card! ["Kohls Shopper Feed] Versatile inspiratory muscle trainer and strengthener ["Lung Train] RE: Customer Service Follow-Up (URGENT) ["FREE Dashcam" Subject: Congratulations! You can get a $50 Kohl's gift card! Congratulations! You can get a $50 Kohl's gift card! http://promindboost.us/MLhM3llPRn3Ofadf-PmpzK1h9mKqiQOmmiG6dbhHwfMWUPhD http://promindboost.us/EeP3ROSWeuAFhCop9aTz6EA6Dc7f2zCWqozteFgezoprgn4a ith the Space Race between the USSR and the USA going on, documentaries and illustrations of actual events, pioneers and technology were plenty. Any movie featuring realistic space travel was at risk of being obsolete at its time of release, rather fossil than fiction. There were relatively few science fiction films in the 1960s, but some of the films transformed science fiction cinema. Stanley Kubrick's 2001: A Space Odyssey (1968) brought new realism to the genre, with its groundbreaking visual effects and realistic portrayal of space travel and influenced the genre with its epic story and transcendent philosophical scope. Other 1960s films included Planet of the Vampires (1965) by Italian filmmaker Mario Bava, that is regarded as one of the best movies of the period, Planet of the Apes (1968) and Fahrenheit 451 (1966), which provided social commentary, and the campy Barbarella (1968), which explored the comical side of earlier science fiction. Jean-Luc Godard's French "new wave" film Alphaville (1965) posited a futuristic Paris commanded by an artificial intelligence which has outlawed all emotion. See also: List of science fiction films of the 1970s and List of science fiction films of the 1980s The era of manned trips to the Moon in 1969 and the 1970s saw a resurgence of interest in the science fiction film. Andrei Tarkovsky's Solaris (1972) and Stalker (1979) are two widely acclaimed examples of the renewed interest of film auteurs in science fiction. Science fiction films from the early 1970s explored the theme of paranoia, in which humanity is depicted as under threat from sociological, ecological or technological adversaries of its own creation, such as George Lucas's directional debut THX 1138 (1971), The Andromeda Strain (1971), Silent Running (1972), Soylent Green (1973), Westworld (1973) and its sequel Futureworld (1976), and Logan's Run (1976). The science fiction comedies of the 1970s included Woody Allen's Sleeper (1973), and John Carpenter's Dark Star (1974). Star Wars (1977) and Close Encounters of the Third Kind (1977) were box-office hits that brought about a huge increase in science fiction films. In 1979, Star Trek: The Motion Picture brought the television series to the big screen for the first time. It was also in this period that the Walt Disney Company released many science fiction films for family audiences such as The Black Hole, Flight of the Navigator, and Honey, I Shrunk the Kids. The sequels to Star Wars, The Empire Strikes Back (1980) and Return of the Jedi (1983), also saw worldwide box office success. Ridley Scott's films, such as Alien (1979) and Blade Runner (1982), along with James Cameron's The Terminator (1984), presented the future as dark, dirty and chaotic, and depicted aliens and androids as hostile and dangerous. In contrast, Steven Spielberg's E.T. the Extra-Terrestrial (1982), one of the most successful films of the 1980s, presented aliens as benign and friendly, a theme already present in Spielberg's own Close Encounters of the Third Kind. The big budget adaptations of Frank Herbert's Dune and Alex Raymond's Flash Gordon, as well as Peter Hyams's sequel to 2001, 2010: The Year We Make Contact (based on 2001 author Arthur C. Clarke's novel 2010: Odyssey Two), were box office failures that dissuaded producers from investing in science fiction literary properties. Disney's Tron (1982) turned out to be a moderate success. The strongest contributors to the genre during the second half of the 1980s were James Cameron and Paul Verhoeven with The Terminator and RoboCop entries. Robert Zemeckis' film Back to the Future (1985) and its sequels were critically praised and became box office successes, not to mention international phenomena. James Cameron's sequel to Alien, Aliens (1986), was very different from the original film, falling more into the action/science fiction genre, it was both a critical and commercial success and Sigourney Weaver was nominated for Best Actress in a Leading Role at the Academy Awards. The Japanese anime film Akira (1988) also had a big influence outside Japan when released. See also: List of science fiction films of the 1990s and List of science fiction films of the 2000s In the 1990s, the emergence of the World Wide Web and the cyberpunk genre spawned several movies on the theme of the computer-human interface, such as Terminator 2: Judgment Day (1991), Total Recall (1990), The Lawnmower Man (1992), and The Matrix (1999). Other themes included disaster films (e.g., Armageddon and Deep Impact, both 1998), alien invasion (e.g., Independence Day (1996)) and genetic experimentation (e.g., Jurassic Park (1993) and Gattaca (1997)). Also, the Star Wars prequel trilogy began with the relea ------------------------------ Date: Mon, 14 Jun 2021 13:24:31 +0200 From: "Lung Trainer Exerciser" Subject: Versatile inspiratory muscle trainer and strengthener Content-Transfer-Encoding: 8bit ------------------------------ Date: Mon, 14 Jun 2021 05:57:06 -0400 From: "FREE Dashcam" Subject: RE: Customer Service Follow-Up (URGENT) RE: Customer Service Follow-Up (URGENT) http://wonders.guru/k-8qiG6I1MjiAvJD1_W4nNqkDI7linhj8kf6ekvyECQlUKXC http://wonders.guru/Okoeo6xlZl63tfQiDwOzuwxCMNjQY0pfF8YV8fWEYF1E3NoT he commercial success of Enthiran (2010) prompted the makers of the film to immediately consider making a sequel. By March 2011, the original film's cinematographer, Rathnavelu, revealed that initial pre-production work on a sequel had begun with the same technical team. S. Shankar, the director of Enthiran, moved on to work on Nanban (2012) and I (2015) and planned to reunite with the same producers as the original was released, with Shankar revealing that he was unsure if the film "will happen at all" during an interview in 2014. While finishing the production of I, Shankar drafted the scripts of three more feature films, including a sequel to Enthiran. Pre-production work for the film had reportedly started in June 2015 with Lyca Productions deciding to finance the project. Along with Shankar and Rajinikanth, composer A. R. Rahman and editor Anthony remained on the development team for the sequel, while Jeyamohan was added to write the screenplay. Shankar also began briefing the film's art director T. Muthuraj and visual effects supervisor V. Srinivas Mohan about their involvement in the film. Shankar had initially inquired about K. V. Anand's availability. This was before Nirav Shah joined the technical team as a cinematographer in mid-2015 and visited specialist studios in the United States to research filming methods for 3D shoots. Jeyamohan finished work on the script of the film in September 2015 and revealed that the story would be a direct continuation of the 2010 film, with filming only set to start following the completion of Rajinikanth's commitments in Kabali (2016). The original film's screenplay writer, Madhan Karky, helped Jeyamohan on some of the more technical dialogue in the script. While the film does include characters and references to events from its predecessor, it is primarily a standalone sequel. A press release coinciding with the start of the film's shoot also revealed that Resul Pookutty would handle sound designing, Legacy Effects would take care of animatronics work and Mary E. Vogt would design special costumes. Stunt choreographer Kenny Bates and visual effects specialists John Hughes and Walt Jones of Tau Films were also signed to work on the film. Unadjusted for inflation, 2.0 is so far the most expensive Indian film. CastingAmy Jackson plays Nila, a feminine humanoid robot.Shankar held initial discussions with Kamal Haasan, Aamir Khan, and then Vikram about portraying a further role, though none of the three actors signed on to appear in the film. Subsequently, the team held talks with Hollywood actor Arnold Schwarzenegger for the role, who agreed to work on the film for a record remuneration. The makers then opted against signing Schwarzenegger, though there have been conflicting reasons regarding this decision. British actress Amy Jackson signed on to work on the film in October 2015 and visited Los Angeles as a part of the team's pre-production work. In late November 2015, Rajinikanth also travelled to Los Angeles to meet the film's producers and complete costume trials and initial motion capture effects work for the film. After further negotiations with actors including Hrithik Roshan and Neil Nitin Mukesh, the makers signed on Akshay Kumar to portray the role for which Schwarzenegger was initially considered. Sudhanshu Pandey joined the cast of the film in March 2016 and revealed that he would portray a scientist who is the son of Professor Bohra from the original film. Adil Hussain began working on the film in July 2016, and, as a part of his role, undertook extensive research into the life of news reporters. In September 2016, Malayalam actor Kalabhavan Shajohn confirmed that he had tried out for a role in the film after Shankar was impressed with his performa ------------------------------ Date: Sun, 13 Jun 2021 09:08:36 -0700 (PDT) From: 20 Subject: =?UTF-8?B?2KfZhNiz2YTYp9mFINi52YTZitmD2YUg2YjYsQ==?= =?UTF-8?B?2K3ZhdipINin2YTZhNmHINmI2KjYsdmD2KfYqtip?= =?UTF-8?B?INin2YTYr9in2LEg2KfZhNi52LHYqNmK2Kkg?= =?UTF-8?B?2YTZhNiq2YbZhdmK2Kkg2KfZhNin2K/Yp9ix2YrYqQ==?= =?UTF-8?B?ICAJCdmIINin2YTYqti52YTZitmFINin?= =?UTF-8?B?2YTYqNix2YrYt9in2YbZiiDZiti52KrZhdivIE0=?= =?UTF-8?B?aW5pIE1CQSAtIEFjY291bnRpbmcgJiBGaW5hbmNpYWw=?= =?UTF-8?B?IE1hbmFnZW1lbnQg2KrZgdin2LXZitmEINi52YYgTWluaSBNQkEg?= =?UTF-8?B?2YHZiiDYp9mE2YXYrdin2LPYqNipINmI2KfZhA==?= =?UTF-8?B?2KfYr9in2LHYqSDYp9mE2YXYp9mE2YrYqSAtIA==?= =?UTF-8?B?2KrYr9ix2YrYqCDYudmGINio2LnYryDZhdmG?= =?UTF-8?B?IDIwIOKAkyAyOCDZitmI2YbZitmIIDI=?= =?UTF-8?B?MDIxINio2LHZhtin2YXYrCDYqtiv2LHZitio?= =?UTF-8?B?2Yog2KPZiNmGINmE2KfZitmGINi12YXZhSDYrg==?= 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itio2Iwg2KfZhtiq2YLZhCDYpdmE2YkgaHR0cHM6Ly9ncm91cHMuZ29vZ2xlLmNvbS9kL21zZ2lk L2FoYWRocm9yZzIyLzdiYWI2YWQ0LTkxOTgtNDczNy1hNGM0LTlkODk5YTMxNDdiOW4lNDBnb29n bGVncm91cHMuY29tLgo= ------------------------------ Date: Mon, 14 Jun 2021 05:01:17 -0400 From: "Evatac Duffel Bag" Subject: Yours FREE Today Only! (While Stocks Last) Yours FREE Today Only! (While Stocks Last) http://hoponopono.co/K5_IcUYten1ZZWVlmFMgZmAyzuxYRUtkMW_q_WuHAOTbkE5a http://hoponopono.co/_IyQIlIR_F4LaYSpZ3k0rgR_Lzg6OK_W1wPDMJKlSjBDpnco aseegaran has recently built a new android humanoid assistant named Nila, whom he introduces to a group of college students. Shortly after, all the mobile phones in the city begin to fly into the sky, throwing the public into a panic. A scientific council assembles to discuss the phenomenon, in which Vaseegaran suggests reactivating the robot Chitti. But the plan is opposed by a member of the council, Dhinendra Bohra, whose father was killed by Chitti a few years back. The cell phones gather into a swarm and kill phone retail store owner Jayanth Kumar, telecom company owner Manoj Lula, and Telecom Minister Vaira Moorthy. The Home Minister S. Vijay Kumar gives permission for Vaseegaran to reactivate Chitti, whom he has already started working on. The cell phone swarm destroys phone towers around the city and wrecks havoc on the public, manifesting as a giant bird. A newly activated and upgraded Chitti battles the bird in the city and destroys it with an explosion. The remaining phones retreat and reform. Chitti, who runs out of battery takes refuge in three antennas at a space station. The bird tries to follow but is repelled by the antennas. Chitti informs Vaseegaran about this incident and confirms that the phones are powered by an aura, specifically a concentrated mass of negative charge with electromagnetic properties. Since the space station was streaming positive charged ions into space, the bird was repelled. Vaseegaran builds a photon synthesizer that projects positive charge, intending to neutralise the charge of the bird. The group confronts the bird and drains it of power. The phones take up a humanoid form, as the deceased ornithologist Pakshi Rajan. Chitti converses with Pakshi as he attempts to destroy the synthesizer, in which a flashback reveals that Pakshi protested against the usage of modern mobile phones, from which the radiation affected the brains of birds and caused mass deaths, especially near his bird sanctuary and home in Thirukazhukundram. Pakshi makes conferences and protests to address this, but the public dismisses and mocks him. Lula and Moorthy also reject his morals for their business and Jayanth Kumar shuns him from his shop as he tries to protest. Birds all over the city including Pakshi's sanctuary die out, including newborn chicks. A distraught and angered Pakshi, after even a court investigation found no violations (because telecom companies reduced signal levels to conceal wrongdoing), hangs himself at a cell tower. Pakshi's negatively charged spirit reawakens by the radiation emitting from the tower. By absorbing the souls of all the deceased birds in the city, he becomes a vengeful entity. Chitti tries to convince Pakshi not to hurt the public but Pakshi wishes to punish their ignorance. Chitti has Pakshi captured and contained. The news spreads to the council which decides to build an army of such robots for the military. Dhinendra, who becomes angered by Chitti's victory, releases Pakshi's spirit from the synthesizer. Pakshi possesses Vaseegaran and attacks the public again, but Chitti refuses to attack his creator. Nila gets the red chip and reprograms Chitti to his evil 2.0 alter ego, after altering it to not harm the innocent and commanding him only to fight Pakshi. Pakshi traps 80,000 people in a football stadium and kills Dhinendra, who was present, by focusing radiation from multiple cell towers. Chitti interferes and fights Pakshi's bird form with his army. As Chitti runs out of charge, Pakshi turns into his winged form and creates several bird drones. The drones tear the robots into pieces, but before Pakshi can summon radiation he's interrupted by one of Chitti's creations: the action figure bot Kutti 3.0. Released into the stadium by Nila, the Kutti bots mount themselves on doves, forcing Pakshi to stand down. The Kuttis self-destruct and destroy Pakshi's drones. After Vaseegaran is released from possession, Pakshi is lead to the space station where he is destroyed. Vaseegaran recovers in the hospital and tells Vijay Kumar, who comes to see him, that he feels Pakshi Rajan was a virtuous person who became a victim of the corrupt society. He also suggests we reduce and control cell phone radiation and ensure that technology do not threaten the lives of all the living creatures in the world. Chitti, now restored to its original version, begins a relationship with Nila. In a post-credits scene, Sana asks Vaseegaran over the phone about the probability of mobile phones flying again. Immediately, Vaseegaran's mobile flies out of his hand and morphs into Kutti 3.0, saying, "I am your grands ------------------------------ Date: Sun, 13 Jun 2021 12:44:01 -0400 From: "Cheap Cars" Subject: (0.00) The Ultimate Guide to Getting Started in Car Auctions (0.00) The Ultimate Guide to Getting Started in Car Auctions http://bioremedies.us/yByoERcdrzj6vQ1uc-JLwQluJI3W7UZGmwKikgKLZY0DzAEe http://bioremedies.us/BYPCKOgiz4NZ1Z_VfkJ_v2ozP8H_V4rEVb1QIU8AjjTKxaVH est orbiting bodies, the giant planets, account for 99% of the remaining mass, with Jupiter and Saturn together comprising more than 90%. The remaining objects of the Solar System (including the four terrestrial planets, the dwarf planets, moons, asteroids, and comets) together comprise less than 0.002% of the Solar System's total mass. Most large objects in orbit around the Sun lie near the plane of Earth's orbit, known as the ecliptic. The planets are very close to the ecliptic, whereas comets and Kuiper belt objects are frequently at significantly greater angles to it. As a result of the formation of the Solar System, planets (and most other objects) orbit the Sun in the same direction that the Sun is rotating (counter-clockwise, as viewed from above Earth's north pole). There are exceptions, such as Halley's Comet. Most of the larger moons orbit their planets in this prograde direction (with Triton being the largest retrograde exception) and most larger objects rotate themselves in the same direction (with Venus being a notable retrograde exception). The overall structure of the charted regions of the Solar System consists of the Sun, four relatively small inner planets surrounded by a belt of mostly rocky asteroids, and four giant planets surrounded by the Kuiper belt of mostly icy objects. Astronomers sometimes informally divide this structure into separate regions. The inner Solar System includes the four terrestrial planets and the asteroid belt. The outer Solar System is beyond the asteroids, including the four giant planets. Since the discovery of the Kuiper belt, the outermost parts of the Solar System are considered a distinct region consisting of the objects beyond Neptune. Most of the planets in the Solar System have secondary systems of their own, being orbited by planetary objects called natural satellites, or moons (two of which, Titan and Ganymede, are larger than the planet Mercury). The four giant planets have planetary rings, thin bands of tiny particles that orbit them in unison. Most of the largest natural satellites are in synchronous rotation, with one face permanently turned toward their parent. All planets of the Solar System lie very close to the ecliptic. The closer they are to the Sun, the faster they travel (inner planets on the left, all planets except Neptune on the right). Kepler's laws of planetary motion describe the orbits of objects about the Sun. Following Kepler's laws, each object travels along an ellipse with the Sun at one focus. Objects closer to the Su ------------------------------ Date: Mon, 14 Jun 2021 05:34:10 -0400 From: "Customer Service" Subject: RE: Customer Service Follow-Up (URGENT) RE: Customer Service Follow-Up (URGENT) http://wonders.guru/Kdi8HziKUpw-Gzzdp42VwWtQfZfyflcck60Pe6zJeJHSVIk6 http://wonders.guru/oi7x6QrO-H2D9keAJBz7UT5hHx0qso29f-xfv7ryLlDDweic he commercial success of Enthiran (2010) prompted the makers of the film to immediately consider making a sequel. By March 2011, the original film's cinematographer, Rathnavelu, revealed that initial pre-production work on a sequel had begun with the same technical team. S. Shankar, the director of Enthiran, moved on to work on Nanban (2012) and I (2015) and planned to reunite with the same producers as the original was released, with Shankar revealing that he was unsure if the film "will happen at all" during an interview in 2014. While finishing the production of I, Shankar drafted the scripts of three more feature films, including a sequel to Enthiran. Pre-production work for the film had reportedly started in June 2015 with Lyca Productions deciding to finance the project. Along with Shankar and Rajinikanth, composer A. R. Rahman and editor Anthony remained on the development team for the sequel, while Jeyamohan was added to write the screenplay. Shankar also began briefing the film's art director T. Muthuraj and visual effects supervisor V. Srinivas Mohan about their involvement in the film. Shankar had initially inquired about K. V. Anand's availability. This was before Nirav Shah joined the technical team as a cinematographer in mid-2015 and visited specialist studios in the United States to research filming methods for 3D shoots. Jeyamohan finished work on the script of the film in September 2015 and revealed that the story would be a direct continuation of the 2010 film, with filming only set to start following the completion of Rajinikanth's commitments in Kabali (2016). The original film's screenplay writer, Madhan Karky, helped Jeyamohan on some of the more technical dialogue in the script. While the film does include characters and references to events from its predecessor, it is primarily a standalone sequel. A press release coinciding with the start of the film's shoot also revealed that Resul Pookutty would handle sound designing, Legacy Effects would take care of animatronics work and Mary E. Vogt would design special costumes. Stunt choreographer Kenny Bates and visual effects specialists John Hughes and Walt Jones of Tau Films were also signed to work on the film. Unadjusted for inflation, 2.0 is so far the most expensive Indian film. CastingAmy Jackson plays Nila, a feminine humanoid robot.Shankar held initial discussions with Kamal Haasan, Aamir Khan, and then Vikram about portraying a further role, though none of the three actors signed on to appear in the film. Subsequently, the team held talks with Hollywood actor Arnold Schwarzenegger for the role, who agreed to work on the film for a record remuneration. The makers then opted against signing Schwarzenegger, though there have been conflicting reasons regarding this decision. British actress Amy Jackson signed on to work on the film in October 2015 and visited Los Angeles as a part of the team's pre-production work. In late November 2015, Rajinikanth also travelled to Los Angeles to meet the film's producers and complete costume trials and initial motion capture effects work for the film. After further negotiations with actors including Hrithik Roshan and Neil Nitin Mukesh, the makers signed on Akshay Kumar to portray the role for which Schwarzenegger was initially considered. Sudhanshu Pandey joined the cast of the film in March 2016 and revealed that he would portray a scientist who is the son of Professor Bohra from the original film. Adil Hussain began working on the film in July 2016, and, as a part of his role, undertook extensive research into the life of news reporters. In September 2016, Malayalam actor Kalabhavan Shajohn confirmed that he had tried out for a role in the film after Shankar was impressed with his performa ------------------------------ Date: Mon, 14 Jun 2021 07:36:52 -0400 From: "TheTimeshareProfessionals" Subject: Government not letting you travel? Sell your Timeshare. Government not letting you travel? Sell your Timeshare. http://promindboost.us/V7tHAMpKNq6nr97l5SS3Hn3tdEw9YOYk-yc3LWxO4zHggObF http://promindboost.us/oAhUw5c4-P5TBLareBL1eTJwVD6ULYCTztPxoOvPlZhzkwCO ilm theorist Vivian Sobchack argues that science fiction films differ from fantasy films in that while science fiction film seeks to achieve our belief in the images we are viewing, fantasy film instead attempts to suspend our disbelief. The science fiction film displays the unfamiliar and alien in the context of the familiar. Despite the alien nature of the scenes and science fictional elements of the setting, the imagery of the film is related back to mankind and how we relate to our surroundings. While the science fiction film strives to push the boundaries of the human experience, they remain bound to the conditions and understanding of the audience and thereby contain prosaic aspects, rather than being completely alien or abstract.[citation needed] Genre films such as westerns or war movies are bound to a particular area or time period. This is not true of the science fiction film. However, there are several common visual elements that are evocative of the genre. These include the spacecraft or space station, alien worlds or creatures, robots, and futuristic gadgets. Examples include movies like Lost in Space, Serenity, Avatar, Prometheus, Tomorrowland, Passengers, and Valerian and the City of a Thousand Planets. More subtle visual clues can appear with changes of the human form through modifications in appearance, size, or behavior, or by means a known environment turned eerily alien, such as an empty city ["The Omega Man"(1971)]. Scientific elements Peter Sellers as the titular character from Dr. Strangelove (1964) While science is a major element of this genre, many movie studios take significant liberties with scientific knowledge. Such liberties can be most readily observed in films that show spacecraft maneuvering in outer space. The vacuum should preclude the transmission of sound or maneuvers employing wings, yet the soundtrack is filled with inappropriate flying noises and changes in flight path resembling an aircraft banking. The filmmakers, unfamiliar with the specifics of space travel, focus instead on providing acoustical atmosphere and the more familiar maneuvers of the aircraft. Similar instances of ignoring science in favor of art can be seen when movies present environmental effects as portrayed in Star Wars and Star Trek. Entire planets are destroyed in titanic explosions requiring mere seconds, whereas an actual event of this nature takes many hours.[citation needed] The role of the scientist has varied considerably in the science fiction film genre, depending on the public perception of science and advanced technology.[citation needed] Starting with Dr. Frankenstein, the mad scientist became a stock character who posed a dire threat to society and perhaps even civilization. Certain portrayals of the "mad scientist", such as Peter Sellers's performance in Dr. Strangelove, have become iconic to the genre.[citation needed] In the monster films of the 1950s, the scientist often played a heroic role as the only person who could provide a technological fix for some impending doom. Reflecting the distrust of government that began in the 1960s in the United States, the brilliant but rebellious scientist became a common theme, often serving a Cassandra-like role during an impending disaster. Biotechnology (e.g., cloning) is a popular scientific element in films as depicted in Jurassic Park (cloning of extinct species), The Island (cloning of humans), and (genetic modification) in some superhero movies and in the Alien series. Cybernetics and holographic projections as depicted in RoboCop and I, Robot are also popularized. Interstellar travel and teleportation is a popular theme in the Star Trek series that is achieved through warp drives and transporters while intergalactic travel is popular in films such as Stargate and Star Wars that is achieved through hyperspace or wormholes. Nanotechnology is also featured in the Star Trek series in the form of replicators (utopia), in The Day the Earth Stood Still in the form of grey goo (dystopia), and in Iron Man 3 in the form of extremis (nanotubes). Force fields is a popular theme in Independence Day while invisibility is also popular in Star Trek. Arc reactor technology, featured in Iron Man, is similar to a cold fusion device. Miniaturization technology where people are shrunk to microscopic sizes is featured in films like Fantastic Voyage (1966), Honey, I Shrunk the Kids (1989), and Marvel's Ant-Man (2015). The late Arthur C. Clarke's third law states that "any sufficiently advanced technology is indistinguishable from magic". Past science fiction films have depicted "fictional" ("magical") technologies that became present reality. For example, the Personal Access Display Device from Star Trek was a precursor of smartphones and tablet computers. Gesture recognition in the movie Minority Report is part of current game consoles. Human-level artificial intelligence is also fast approaching with the advent of smartphone A.I. while a working cloaking device / material is the main goal of stealth technology. Autonomous cars (e.g. KITT from the Knight Rider series) and quantum computers, like in the movie Stealth and Transcendence, also will be available eventually. Furthermore, although Clarke's laws do not classify "sufficiently advanced" technologies, the Kardashev scale measures a civilization's level of technological advancement into types. Due to its exponential nature, sci-fi civilizations usually only attain Type I (harnessing all the energy attainable from a single planet), and strictly speaking often not even that. Alien lifeforms Main article: Extraterrestrials in fiction The concept of life, particularly intelligent life, having an extraterrestrial origin is a popular staple of science fiction films. Early films often used alien life forms as a threat or peril to the human race, where the invaders were frequently fictional representations of actual military or political threats on Earth as observed in films such as Mars Attacks!, Starship Troopers, the Alien series, the Predator series, and The Chronicles of Riddick series. Some aliens were represented as benign and even beneficial in nature in such films as Escape to Witch Mountain, E.T. the Extra-Terrestrial, Close Encounters of the Third Kind, The Fifth Element, The Hitchhiker's Guide to the Galaxy, Avatar, Valerian and the City of a Thousand Planets, and the Men in Black series. In order to provide subject matter to which audiences can relate, the large majority of intelligent alien races presented in films have an anthropomorphic nature, possessing human emotions and motivations. In films like Cocoon, My Stepmother Is an Alien, Species, Contact, The Box, Knowing, The Day the Earth Stood Still, and The Watch, the aliens were nearly human in physical appearance, and communicated in a common earth language. However, the aliens in Stargate and Prometheus were human in physical appearance but communicated in an alien language. A few films have tried to represent intelligent aliens as something utterly different from the usual humanoid shape (e.g. An intelligent life form surrounding an entire planet in Solaris, the ball shaped creature in Dark Star, microbial-like creatures in The Invasion, shape-shifting creatures in Evolution). Recent trends in films involve building-size alien creatures like in the movie Pacific Rim where the CGI has tremendously improved over the previous decades as compared in previous films such as Godzi ------------------------------ End of alt.music.moxy-fruvous digest V14 #6769 **********************************************