It's easy to stay invested in a series that is constantly willing to try new things, reconsider tropes in the genre, and humanize a hero. No character is shortchanged, and every case is as interesting as the next. The series covers a lot of ground even with a tight one-hour network format, which includes commercials. Amid its cool action sequences with Latifah strongarming everyone from extremists to gang members, The Equalizer's mission to expand beyond the homogenous landscape of victims and villains is apparent and necessary. Or in Season 1, when a Latina volunteer for a mayoral candidate attempts suicide after being raped by a campaign official. Like, in Season 2, when the gay son of a Saudi diplomat is at risk of being killed when his sexuality becomes known. The couple's mild flirtations, sarcasm, and general liveliness certainly stand out against McCall's hyper serious tone, even when Harry has an uncharacteristically dramatic moment when, in Episode 2 of the new season, he considers reentering the world after faking his own death to avoid government eyes.Įven though each character is compelling to watch, at its core, The Equalizer steadies its narrative on restoring justice for people who we don't often see blockbuster action films portray in the same light. That's the same for McCall, who often invests in the unique talents of friends Melody "Mel" Bayani ( Liza Lapira) and her husband Harry Keshegian ( Adam Goldberg), a former sniper with the Air Force who moonlights as a bar owner and a master hacker, respectively, on all her cases. But any fan of procedurals can tell you that work and whether the character is single or a parent are the only defining traits they usually possess. As for what her personality is beyond her maternal role, it's hard to tell. Of course, McCall wrestles with those times when she isn't there, but the fact that she does shows she has a conscience about that. Queen Latifah, The Equalizer Mary Kouw/CBS While it remains a mystery who Delilah's father is (McCall's love life, fortunately, has yet to be brought up as an issue to be fixed), her personal life lies squarely in her role as a mother who isn't always home to say goodnight to her child but is always there when she needs her, including for a pep talk. The Equalizer, from showrunners Andrew Marlowe and Terri Miller, has always been very conscious about humanizing McCall as a protagonist who is both superhuman in some regards - solving every case and sometimes beating up the bad guys - and a single mother who leans on Viola for support. And like them, McCall is quickly lured back when an ally, Detective Marcus Dante ( Tory Kittles), makes a desperate call to her for help finding the people who gunned down his colleague. It's a familiar way to reenter this Equalizer narrative because anyone who's watched a Bruce Willis, Clint Eastwood, or Liam Neeson movie knows that flirting with retirement is how many well-known action hero characters begin a sequel. So, things aren't great at home, and McCall even considers giving up her duties, which means that a lot of marginalized people who are often unable to defend themselves, the ones she prioritizes in her work, will be vulnerable. Their relationship is now so strained that Delilah's trust in her mother has all but gone out the window. Those who watched the Season 1 finale already know that while her work remains classified among certain people, including ex-CIA director William Bishop ( Chris Noth) and her aunt Viola ( Lorraine Toussaint), her cover was totally blown with daughter, Delilah ( Laya DeLeon Hayes).įind Out Where to Stream Anything in TV Guide's Finder, a Search Engine for Streaming Shows After managing to save innocent victims of covert government and otherwise criminal operations from certain death and/or persecution last season, we find former CIA operative-turned-justice vigilante Robyn McCall (Queen Latifah) in a different headspace at the start of Season 2. The second season continues with that same vibe. But by the end of the first season of The Equalizer, it was clear that there is something entirely fresh and reinvigorating with Latifah's vehicle. Initially, the idea that there would be a gender-bent version of a character that had already been race-bent in a tired 2014 film with Denzel Washington was exasperating. You've got to appreciate this current phase of Queen Latifah's career where she is quite literally coasting on a procedural crime drama and quietly defying gender, body, and age standards that have historically been applied to action heroes.
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You can also pre-scale the texture within unrealed with its properties, which is actually the reason why the big s3tc textures still work on surfaces without rescaling. Cutscenes in 3D,loading screens, online multiplayer servers,3D enemy animations.etc.Ģ56x256 is acceptable, any size basically with powers of two but the engine will have trouble handling really big stuff unless its compressed anyways. I guess if early build of UE1 would be ready in 1995 then UE1998 would be considered to be UE2(but made way much earlier). Does UE1 got something like image references in Blender? Retro nostalgic reverse engineering of what if Jazz Jackrabbit 2 would be released in circa anno domini of year of 1998,but in 3D instead of 2D. I'm afraid some 3D Sky Boxes would have to putted outside main default middle level map sections. I'm not sure if something like that exist. Maybe it's Mandela effect,but I think I saw on jazz2online(every copy of it is personalized-Super Mario 64 creepypasta phenomenon hype) Jazz 2 in 3D. Adding Lori,Spaz,Jazz 2 enemies,Jazz 2 levels in 3D. Maybe it would fix saving game state in Unreal Engine/Editor 1998 final build. If many years ago tech demo of Jazz Jackrabbit tech demo was leaked online then what if in late 90's of XX century Jazz Jackrabbit 2 was made in 3D by Epic(Mega)Games such as Ubisoft's Rayman 2? I guess helicopter old outdated low poly early 3D animations would be very problematic,time consuming,but perhaps even worth of trying. After that it will be visible in "lsusb" command as whatever ID you set in the config.h file, and shorting any row pin with any column pin should produce key presses. Now run " make -f Makefile.pjrc program", and it should compile and burn the firmware to your board. That puts the board into programming mode. Connect a switch between the GND and RST pins, connect the board to USB and press the switch two times quickly. PROGRAM_CMD = avrdude -p $(MCU) -P /dev/ttyACM0 -c avr109 -U flash:w: $(TARGET).hexNow you are ready to program your board. Set the following variables: MCU = atmega32u4 I used Makefile.pjrc, because the default one doesn't support N-key rollover yet. Lastly, we need to modify the Makefile for our board. The layers let you setup cool effects with special keys and such, see the keymap documentation for details. I mean, an array of layers, each layer being an array of rows, each row being an array of columns, each column being an array of keys. You do that in keymap.c, by defining an array of arrays of arrays. Lastly, you need to define the key map - basically to tell the firmware which key is which. I'm not too worried, because I only needed 8 in the end, but if you need more, you will probably need to copy the matrix_scan function from one of the larger examples to get it to work. One note about having more than 8 columns: while the code looks like it should support it, I didn't manage to get that to work. The unselect_rows function sets all the row pins to floating, and finally the select_row function sets the specified row pin to low. Next, the read_cols function reads the state of all those column pins, and reports it as a single byte (or more, if you have more than 8 columns, but see below). Basically, init_cols sets all the column pins in INPUT mode with internal pull-up resistors. You can look at all the examples included in the repository to get an idea what they need to do. You will need to define four functions: init_cols, read_cols, unselect_rows and select_row. You can also change some other options here and in the Makefile. I used 8 columns and 11 rows in my keyboard, which gave me the 88 keys I needed (actually 87). In config.h, we have to set the correct number of rows and columns. All we need to do is to copy the "onekey" example keyboard, and modify the config.h, keymap.c and matrix.c files to fit our keyboard. After a short search, I found the TMK Keyboard firmware, which is just perfect for our needs. Still not enough for the full layout, but should be fine for a tenkeyless keyboard. That gives us the largest matrix of 10×10, so 100 keys. Wait, what does it say about LEDs at the bottom there? Two more independent pins? Great, we only have to remove the two resistors and solder wires in their place, and we have 20 pins for our disposal. Even if we ditch the keypad, like I did in my keyboard, that only removes 17 keys. Hmm, that may be fine for those tiny, chocolate bar keyboards, but a modern PC keyboard has 105 keys. So, with 18 pins, the largest matrix we can get is a square 9×9. We add diodes, so that the pressed keys won't interfere with each other. Then we scan that repeatedly to figure out which ones are pressed. We basically make rows and columns, and put switches on the crossings. Can we somehow connect more keys? Turns out we can, by using a key matrix. Let's look at the pinout:Īccording to this diagram, we have 18 usable pins. Pro Micro can be had for about $4 in singles from the usual oriental sources. Arduino Leonardo is too big for our needs. There are three popular boards with that microcontroller: Arduino Leonardo, Teensy 2.0, and Pro Micro (not to be confused with Pro Mini, which uses ATmega328). That's mostly because it has hardware USB support, so you don't have to muck about with unreliable and hacky bit-banged VUSB. The ATmega32u4 microcontroller is an excellent choice for any HID device, such a mouse, a joystick or a keyboard. So you want to build your own keyboard (or keyboard-like device), but you are not sure what to use for the brains and how to connect and program it? I will describe what I came up with for the #Alpen Clack keyboard. We offer a broad spectrum of complementary, evidence-based services that address eating disorders and simultaneously treat conditions such as depression, trauma, obsessive-compulsive anxiety, chronic pain, or addiction. Such individuals may need to address the emotional issues alongside their eating disorder. Without the right support, the individual may struggle with overcoming their obsession, binging, or the false relief they get from eating food excessively, especially in emotional eating. The process of treating eating disorders is similar to drug rehabilitation. We also address the complications associated with the underlying mental health issues. 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Many computer problems are caused by missing or outdated device drivers, especially in Windows 11. Next, update individual drivers or all of the necessary drivers with one click. When the scan is complete, the driver update utility will display a results page showing which drivers are missing or out-of-date: Once you download and run the utility, it will scan for out-of-date or missing drivers: It will Update all of your drivers in just a few clicks, and even backup your drivers before making any changes. The Driver Update Utility automatically finds, downloads and installs the right driver for your hardware and operating system. Automatic updates could save you hours of time. If you are having trouble finding the right driver, stop searching and fix driver problems faster with the Automatic Driver Update Utility. Many device drivers are not updated through the Microsoft Windows Update service. Visit our Driver Support Page for helpful step-by-step videos Install Drivers Automatically In most cases, you will need to reboot your computer in order for the driver update to take effect. Locate the device and model that is having the issue and double-click on it to open the Properties dialog box.Ĭlick the Update Driver button and follow the instructions. In Windows XP, click Start -> Control Panel -> Performance and Maintenance -> System -> Hardware tab -> Device Manager button In Windows Vista, click Start -> Control Panel -> System and Maintenance -> Device Manager In Windows 7, click Start -> Control Panel -> Hardware and Sound -> Device Manager In Windows 8, swipe up from the bottom, or right-click anywhere on the desktop and choose "All Apps" -> swipe or scroll right and choose "Control Panel" (under Windows System section) -> Hardware and Sound -> Device Manager In Windows 11, Windows 10 & Windows 8.1, right-click the Start menu and select Device Manager It allows you to see all of the devices recognized by your system, and the drivers associated with them. To install a driver in Windows, you will need to use a built-in utility called Device Manager. Once you download your new driver, then you need to install it. Ford Motor Company reserves the right to modify the terms of this plan at any time. 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In addition, some vehicles, trims or options you select may not qualify for A/Z Plans. Turn on the ignition and check all instrument panel lights illuminate. A Vehicle given a salvage title in another state and was later transported to New York. Note: A/Z Plan pricing information is not available on all Ford websites. Welcome A/Z Plan Participant Now you can view exclusive price savings on our Build & Price shopping tool. Sculpture that shows well in strong daylight occupies the perimeters, notably Dan Flavin’s “monument” for V. Robert Ryman’s white-on-white images glow in this illuminating area, as do Agnes Martin’s sublimely gentle grid paintings. Paintings work best in the front of the facility, where there is a steady north light. In a large neighboring space is Andy Warhol’s Shadows (1978–79), a massive single work of 72 canvases that evokes the perceptual flicker of light and dark. Walter de Maria’s The Equal Area Series (1976–77)-a work of paired stainless-steel circles and squares that plays with the viewer’s perception of perspective-lies flat on the ground of the great opening plain (and plane). Irwin’s entrance to the facility is shadowy and modest, which magnifies the epic light-burst of space that greets the viewer. This creates a precise blurring of outside and inside, one that would be appreciated by the many Dia artists who have worked with perceptual conundrums and by those-such as Robert Smithson and Michael Heizer-who have preferred to work with the landscape itself. In the building itself, Irwin has inserted four clear glass panels into the structure’s many large, multi-paned frosted windows. Outside, there’s a kind of grassy grid hedgelike trees form straight lines. He has designed gardens in keeping with minimal art-and also with the simple, rectilinear logic of early-twentieth-century industrial architecture. Irwin’s modifications subtly enhance the viewpoint of the period. The artists themselves were invited when possible to help create their galleries. Instead, Dia has tried to provide what Judd once called “a permanent installation of a good proportion of the work of the best artists.” Each artist has a dedicated space in which his or her work can be viewed in depth and, presumably, in perpetuity. In her essay on the facility, Lynne Cooke begins with Donald Judd’s complaint about the Art 101 shtick that typically dominates museums: “It’s freshman English for ever and never no more no literature.” In the Dia space, there’s no museum chronology or implicit hierarchy. Dia:Beacon therefore reflects the principles for exhibiting art developed by major figures in the sixties-particularly Donald Judd-and subsequently propounded by Dia’s founders, Heiner Friedrich and Philippa de Menil. Instead of creating a new piece of architecture, Irwin-who often works with “given” spaces-adapted the plant to the requirements of the art on display. As Irwin knows so well, rooms often look best when occupied mainly by daylight. Whatever one’s views of the art, Dia:Beacon is a marvelous place of luxuriant light, open space, and serene galleries. A tripartite building and train shed are joined together into what is now called the Riggio galleries (named after the family of the founder of Barnes and Noble, who contributed much of the funding). The artist Robert Irwin, himself a significant figure of the Dia generation, oversaw the renovation in consultation with the architecture firm OpenOffice and the Dia staff-notably the director, Michael Govan, and the curator, Lynne Cooke. Located on the eastern bank of the Hudson in the river town of Beacon, about an hour and a half by train or car from New York, the 300,000-square-foot facility presents the work of 24 artists favored by Dia. No less important, the working-class spirit symbolized their disdain for both conventional museum practice, with its pedigreed genealogies and “this begat that” attitude, and the romantic cult of the genius.ĭia:Beacon, which opened last week in a former Nabisco printing plant built in 1929, represents the radiant culmination of this loft sensibility. Artists of the time developed an approach, at once brusquely proletarian and intellectual, that flourished in this bracing atmosphere the lofts echoed their use of grids, series, and industrial materials. These no-nonsense spaces were open, sweeping, and sometimes epic in scale, with large, declarative windows. Some lived in the cast-iron district of Soho, in lofts originally constructed for industrial use. In the sixties, however, many artists grew impatient with these traditional settings and began to dream of less-confining environments. Photo: Michael GovanĬhurch, palace, house, museum: That’s where we usually situate art. Eye Dia: An untitles Dan Flavin sculpture (1970) stands before Robert Irwin's modified windows at Dia:Beacon. 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