North Korea’s accelerating military advances — and President Trump’s volatile response — could complicate Japan’s close alliance with the United States.
NYS Entity Status
NYS Filing Date
APRIL 23, 2014
NYS DOS ID#
NYS Entity Type
DOMESTIC LIMITED LIABILITY COMPANY
2014 - ALLURE IN MOTION ENTERTAINMENT LLC
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By Tim Kenneally, provided by
- Monday Jul 17, 2017
Visual effects firm says that Disney contracted with people who stole the technologyThe company was slapped with a lawsuit on Monday by a visual effects company, which claims that its technology was misappropriated for “Beauty and the Beast,” “Guardians of the Galaxy” and Avengers:“[I]n all of the film industry and media accolades about the record-breaking success of ‘Beauty and the Beast,’ and the acclaimed cutting-edge digital MOVA Contour technology that made the film’s success possible, nowhere is it mentioned that the patented and copyright-protected MOVA Contour technology was stolen from its inventor and developer, Rearden LLC, and its owner Rearden Mova LLC,” the suit reads.Nowhere is it mentioned that although Disney had previously contracted with Rearden LLC and its controlled entities on four previous major motion pictures to use MOVA Contour and knew of a Rearden Demand Letter to one of the thieves demanding immediate return of the stolen MOVA Contour system, Disney nonetheless contracted with the thieves to use the stolen MOVA Contour system.
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By Joshua Kosman - Monday Jul 31, 2017
SANTA FE, N.M. — To spend a couple of consecutive nights at the Santa Fe Opera over the weekend was to get a crash course in the unnerving power of female sexuality, at least as conceived by the male imagination.The notion that women are fascinating but dangerous — get too close and you’re done for — is a recurrent motif throughout the operatic canon, of course, but it’s startling to encounter it in such a concentrated dosage.[...] this sort of sexual politics unsettles the entire operatic experience, because vocal allure is both the artistic point of the exercise and the vehicle of feminine danger.A certain amount of that busy density came through in Alden’s staging, which imagines Alcina’s island as an abandoned theater full of props and extras, and the real world outside it as a suburban housing development reachable by a jostling commuter train.Van den Heever, who began her road to prominence with the San Francisco Opera, proved just as compelling as an angry, embittered drunk — unleashing long, forceful vocal phrases whose implacability belied her tottery stage business — as she had in the stately early phase of her ascendancy.“The Golden Cockerel” — or, to give it the French title by which Serge Diaghilev introduced it to Western audiences, “Le Coq d’Or” — proved to be a harder sell, and Friday’s performance, despite an imaginative visual production and first-rate vocal contributions from some members of the cast, didn’t make a particularly persuasive case for the work.The composer’s final opera ran into trouble with the Russian Imperial censors for perfectly apparent reasons, and wasn’t performed until 1909, a year after his death.[...] the piece has never been entirely forgotten, but it’s never been a mainstream item either (Pamela Rosenberg had it on the San Francisco Opera schedule at one point, but it never materialized).Gimadieva’s success in bringing the sense of peril to life — a matter of elegantly fluid vocal turns and saucy stage demeanor — was a wonder to behold, and there were superb contributions as well from the clarion tenor Barry Banks as the astrologer who sets the plot in motion and from the powerhouse contralto Meredith Arwady as the czar’s housekeeper (and basically, nanny).
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