#### Written By: Ben Cosgrove Tippi Hedren, perhaps most famous for her role in Alfred Hitchcock’s _The Birds_ , is an actress of formidable gifts. Hitch said, when directing her in that classic film, that Hedren had “a faster tempo, city glibness, more humor [than another frequent Hitchcock heroine, Grace Kelly]. She displayed jaunty assuredness . . . and she memorized and read lines extraordinarily well.” But her role as an animal-rights activist and conservationist might well be Hedren’s most lasting legacy. For decades, her Roar Foundation and the animal sanctuary, Shambala Preserve, in California have advocated for big (and not so big) cats from lions and leopards to bobcats and servals and she’s been honored with a host of humanitarian and conservation awards through the decades. In 1971, LIFE photographer Michael Rougier spent time with Hedren; her teenage daughter, Melanie Griffith (from Hedren’s first marriage, to Peter Griffith), her then-husband, the agent and movie producer, Noel Marshall; and others at their home in California. Also in attendance: Neil, a 400-pound mature lion, who occasionally slept in the same bed as Griffith and, as these pictures attest, had the run of the house, from the kitchen to the living room to the swimming pool. Hedren has since acknowledged that it was “stupid beyond belief” to put her family at risk by allowing an animal with “no conscience or remorse genes” to roam free. On that, at least, we can all agree even if these pictures make Neil look like the world’s biggest pussycat. > Tippi Hedren’s Pet Lion Neil > > Michael Rougier / The LIFE Picture Collection/Shutterstock > Melanie Griffith and Neil the Lion > > Michael Rougier / The LIFE Picture Collection/Shutterstock > Tippi Hedren’s Pet Lion Neil > > Michael Rougier / The LIFE Picture Collection/Shutterstock > Neil the lion > > Michael Rougier / The LIFE Picture Collection/Shutterstock > Tippi Hedren and Neil the Lion > > Michael Rougier / The LIFE Picture Collection/Shutterstock > Tippi Hedren and Neil the Lion > > Michael Rougier / The LIFE Picture Collection/Shutterstock > Tippi Hedren and Neil the Lion > > Michael Rougier / The LIFE Picture Collection/Shutterstock > Tippi Hedren and Neil the Lion > > Michael Rougier / The LIFE Picture Collection/Shutterstock > Noel Marshall and Neil the Lion > > Michael Rougier / The LIFE Picture Collection/Shutterstock > Noel Marshall and Neil the Lion > > Michael Rougier / The LIFE Picture Collection/Shutterstock > Tippi Hedren’s Pet Lion Neil > > Michael Rougier / The LIFE Picture Collection/Shutterstock > Tippi Hedren and Neil the Lion > > Michael Rougier / The LIFE Picture Collection/Shutterstock > Neil the lion > > Michael Rougier / The LIFE Picture Collection/Shutterstock > Tippi Hedren and Neil the Lion > > Michael Rougier / The LIFE Picture Collection/Shutterstock > Melanie Griffith and Neil the Lion > > Michael Rougier / The LIFE Picture Collection/Shutterstock > Melanie Griffith and Neil the Lion > > Michael Rougier / The LIFE Picture Collection/Shutterstock

* _Steve Brusatte has_ _a new book out about the evolution of birds_ _. I’m excited to read it— I haven’t had the chance yet, although I’ve admired in on a bookshelf. Anyway, it got me thinking about this old essay I wrote complaining about the use of political metaphors in his earlier book on dinosaurs. Needless to say, this is something that continues to bug the everliving sh-t out of me, and not just in dinosaur writing. Please please PLEASE let’s all try to do better. Especially Netflix— the production company behind the laziest prehistoric nature documentaries ever not-filmed. “_ _Problematica_ _” is written by_ _Max Dresow_ _…_ In 1966, Hammer Films released the adventure-fantasy picture _One Million Years B.C._ You may remember it as the one that put Raquel Welch in a fur bikini, but at the time it was also notable for its depiction of dinosaurs. With stop-motion pioneer Ray Harryhausen in charge, the film delivered several iconic sequences, including a nearly four-minute brawl between a _Ceratosaurus_ and a _Triceratops_. (In a twist, the _Triceratops_ won.) Audiences responded, and despite the meddling of American censors, the film turned a profit. Three more films followed in the “Cave Girl” series, with diminishing artistic and financial returns. The second had a title that feels inevitable given the cavemen versus dinosaurs setup. It was called _When Dinosaurs Ruled the Earth_ (1970). A scene from _When Dinosaurs Ruled the Earth_(1970) starring Victoria Vetri Dinosaurs have been ruling the earth for a while now. Not actual dinosaurs, mind you (though there are plenty of non-avian dinosaurs around, including some _thirty billion chickens_). I mean ruling it in the popular imagination. Ask yourself this. How many popular discussions of dinosaurs fail to mention that dinosaurs once “ruled the earth”? The expression is so ubiquitous that it scarcely registers anymore, or registers only by its absence. Recently, I was pleased to discover that a favorite childhood book does _not_ contain a variant of this expression. This is _Dinosaur Time_ by Peggy Parish, with illustrations by Arnold Lobel. But why should this stand out? The book does say that, 100 million years ago, “dinosaurs were everywhere.” How ubiquitous does the language of political domination have to be before it feels subversive to claim that the Mesozoic was merely “dinosaur time”? The iconic ending of _Jurassic Park_(1993) Writing in _Aeon_, Riley Black provides a diagnosis of our inability to think about dinosaurs in non-dynastical terms: > The entire reason we so often fixate on the supposed dominance of the dinosaurs is because we now see ourselves in that position. For more than a century, the decimation of the “ruling reptiles” has been taken as a cautionary tale of what could happen to us— not all that different from pundits who cry that the United States is set to topple like the Roman Empire. The narrative becomes one of power, influence and longevity, one group of organisms above all others deciding the course of entire ecosystems over the span of millions of years. The story, Black continues, “says more about the way we interpret the past than what actually transpired.” “[By] creating a fairly-tale out of a distant prehistoric event, we’ve inflated our sense of importance in the world.” Her analysis recalls Ellen Goodman’s remark that perhaps “every era gets the dinosaur story it deserves.” The Victorians got a story about mammals outcompeting dinosaurs in a progressive upward sweep. Goodman’s contemporaries got a story about dinosaur extinction as nuclear Armageddon. And recently, dinosaurs have again become the victims of climate change. But whereas extinction narratives are always shifting as our “extinction imaginary” evolves, the language of dinosaur domination has remained remarkably stable (Sepkoski 2021). What’s good enough for Hammer Films is evidently good enough for us. Today, we’re all Raquel Welch in a fur bikini. But, like, really? I was prompted to reflect on this recently by a book I’ve been reading. The book is Steve Brusatte’s _The Rise and Fall of the Dinosaurs,_ and you probably remember it from how it was f-cking everywhere in 2018. I'm surprised that it took me this long to read it, since I was tempted to buy it every time I walked by an airport book kiosk. But anyway, in 2023, I finally read the thing. And of course I was entertained. Brusatte is a lively and engaging writer with an almost manic storytelling energy. He certainly knows his dinosaurs and his enthusiasm for them bursts off the page. All this makes for a very readable book, and since I am a sucker for a readable book, I polished this one off in just a few sittings. Then I read his mammal book too. But as much as I was entertained by this book, so much was I annoyed. That’s because Brusatte really embraces the language of political domination. Like, _really._ It is the omnipresent connective tissue of the narrative. My irritation wasn’t a function of moral outrage, nor did it reflect an unrealistically strict prohibition against describing the natural world in human terms. Instead, I just found the constant political metaphors exhausting. And lazy. Surely there are ways of telling the story of dinosaur evolution that do not rely on comparing dinosaurs to political dynasties. Such comparisons add few strokes of color to the writing and contribute nothing to the reader’s understanding of dinosaurs. So why are there so many of them? Now here is where I disclose that I did something obnoxious. After reading the first couple chapters and noticing the prevalence of political metaphors, I started to record where it appeared. Then I spent an hour or so transcribing sentence fragments into a Word document and pasted them below. I may not have caught all the relevant passages, but I got a bunch of them. So let me present them to you in the most uninspiring form imaginable: the loosely unorganized list. > ### Preface and Chapter 1 > > [Dinosaurs] _rose to dominance > _[The Triassic Period was] an _uncolonized frontier_ _ > __Lording over it all_ were the gorgonopsians > [Gorgonopsians] _ruled_ at the top of the food chain > This cast of oddballs _ruled the world_ just before the dinosaurs > > > ### Chapter 2 > > …thrust onto _an evolutionary battlefield_ … It was far from certain that dinosaurs were going to _emerge triumphant_ > … the crocodile line archosaurs, who _held the throne_ _ > _Nothing was _handed to_ the dinosaurs. They were going to have to _earn it_ > [At the beginning of] their _long march to dominance_ > [The shoreline was] _enemy territory_ > [Dinosaurs were] _destined for greater things_ to come > For millions of years, it looked as if [dinosaurs] might remain _provincial rubes_ _ > _[Crocs] never _rose to the top_ > …a handful of _battle-worn stragglers_ > …critical to understanding how dinosaurs _ascended to power_ _ > _The dinosaurs had yet to _mount_ _a_ _global revolution > _ __ > > ### Chapter 3 > > Dinosaurs _conquered the deserts_ __ soon after they arrived > [Dinosaurs were] the ones who would eventually become dominant… and _conquer the world > _ __ > > ### Chapter 4 > > [The mural at the Peabody museum] tells _an epic tale of_ _conquest_ _ > _Dinosaurs had already become _the dominant force on land_ _ > _[D]inosaurs _ruled every corner of the globe_ _ > _[Ankylosaurs remained]_marginal understudies_ > [_Carcharodontosaurus_] _lorded over_ all of the other dinosaurs… > [Tyrannosaur’s] _undisputed perch_ at the top of the food pyramid > [A]nother monster that _reigned_ near the top of the food chain [_Torvosaurus_]__ > [How tyrannosaurs] _rose to glory_ _ > _[Deep] into the middle Cretaceous, carcharodontosaurs _ruled the world_ _ > _[The tyrannosaurs] would soon make their move and found _a new dinosaur empire > _ __ > > ### Chapter 5 > > [_T._] _rex_ was _a king indeed_ _ > _[_T. rex_ and its cousins were] at _the top of their game_ > [At] the top of the food chain,___the lords of a lush forest_ > [W]hen _T. rex_ and its brethren _reigned supreme_ _ > …_ _utterly dominated_ the Early Cretaceous > Enormous tyrannosaurs _reigned_ throughout North America > In Asia, the nearly _T_. _rex_ -size _Chilantaisaurus_ and the smaller _Shaochilong_ were _the top guns_ … and in South America, carcharodontosaurs like _Aerosteon_ _reigned_ > _Timurlengia_ and its comrades were still living under the thumb of _the real warlords of the middle Cretaceous_ , the carcharodontosaurs > T. rex and its breatheren really were _kings of the dinosaur world_ _ > _… _champions_ in one region might not be able to _conquer_ another for one simple reason > The world they _lorded over_ __ was very different from the one… > > > ### Chapter 6 > > The _king_ of the dinosaurs > The majesty that is the _king_ _ > _[_T. rex_ ’s] head was _a killing machine, a torture chamber for its prey, and an evil mask_ all in one > [_T. rex_ ’s] _dominion_ > There it _lorded over_ a range of ecosystems > [Young Rex was] _an invasive pest_ > … _controlled an entire continent_ _ > _The _King_ went down on top, cut down _at_ _the peak of its power_ _ > _Like so many _monarchs_ , Rex was a glutton > _…_ the _rulers_ of their time > _T. rex_ , _the one true king > _ __ > > ### Chapter 7 > > [_T. rex’s_] _dominion > The King_ may have been able to _easily subjugate_ the dinosaurs of Europe > [It] gave other types of meat-eaters the opportunity to _seize their own kingdoms_ > And the King… _ruling over all of it > [R]uling_ for tens of millions of years before _ceding their crown_ > …retaining their _heavyweight title > _ _Balaur bondoc_ was the _top dog_ of the Late Cretaceous European islands. Less _tyrant_ than _assassin_ _…_ > > > ### Chapter 8 > > The _reign of the dinosaurs_ ended and _a revolution followed_ , forcing them to _cede their kingdom_ to other species > … the enduring legacy of over 150 million years of _dinosaur domination > [A] dead empire_ > … able to _rule the planet_ for so long > [C]ompetitors hoping to _snatch their crown_ > … helped them _rule the world_ for so long > …theropod _dynasty > _ __ > > ### Chapter 9 > > _Undisputed despots_ of an entire continent > [_The] peak of their glory days > _ __ > > ### Chapter 10 > > [A] _new dynasty > _[A] diverse ecosystem… _ruled_ by _T. rex_ > … vanquished their rivals so that they _ruled an entire planet_ > We humans now _wear the crown_ that once belonged to the dinosaurs > _The dinosaur empire_ You’re probably wondering what I hoped to accomplish with this exercise. And if I’m being honest, I’m not quite sure. As I said before, the annoyance I felt was not so much _moral_ as it was _literary_. So, I suppose I would like it if the writers of trade books on dinosaurs would cut this shit out. But like Black, I don’t think the problem with this language is _entirely_ literary. I think it’s sadly plausible that a good portion of the public thinks that the point of evolution is to produce big carnivores, or at least big animals. How else are you supposed to interpret the constant comparisons of apex predators to kings, conquerors, and heavyweight champions? The least strained interpretation is that the “winners” of evolution are the animals described in these terms. If tyrannosaurs _really_ “controlled an entire continent,” “ruling over it… for ten million years before ceding their crown,” then tyrannosaurs won the evolutionary prize and all the other animals didn’t. It can hardly be otherwise if tyrannosaurus actually “lorded over” or “subjugated” the other animals in their environments. But this is basically nonsense.* It’s at least as plausible to regard large predators as a kind of evolutionary “surface film” with small populations, average evolutionary lifespans, and unenviable qualities of life. (Think of all those scrawny lionesses scrapping for food in nature documentaries.) So, while the Cretaceous can be described as “tyrannosaur time”— there were certainly tyrannosaurs around— it is little more than propaganda to describe tyrannosaurs as the “conquerers” or “despots” of the period. [* To be clear: I don’t mean to deny that tyrannosaurs played a large role in their ecosystems, and in some sense “dominated” the meso- and macrocarnivore niches. I’m simply pointing out that there’s a big difference between claims like this and the claim that tyrannosaurs were the “undisputed despots of an entire continent.”] One can hardly avoid citing Stephen Jay Gould at this juncture. So here he is, challenging the claim that we currently live in the “Age of Mammals,” or perhaps the “Age of Man”: > We live now in the ‘Age of Bacteria.” Our planet has always been in the “Age of Bacteria,” ever since the first fossils— bacteria, of course— were entombed in rocks more than three and a half billion years ago… On any possible, reasonable, or fair criterion, bacteria are— and always have been— the dominant forms of life on earth _._(Gould 1996, 176) As I understand it, Gould’s argument is a _reductio_. By any reasonable criterion, bacteria should be recognized as the lords of creation. But this is a pretty weird thing to say about bacteria, so perhaps we would do better to leave the language of political domination behind. We should admit that this language floats free of any “reasonable or fair” criteria; that it functions mainly to embellish rhetorical points in the service of non-epistemic aims. So here is our task— to come up with new ways of narrating the history of life, including the history of dinosaur evolution, that avoid drawing unwarranted connections with human political history. A two-page spread from _Dinosaur Time_ , featuring an admirably unvarnished description of _T. rex_ We should also consider that the habit of describing nature in political terms may have some untoward effects. Certainly we should be wary of naturalizing the language of dominance and hierarchy given the many ways these categories have been abused in the past. Eugenicists used the language of domination and hierarchy to reinforce a view in which power and prestige resided exclusively in the hands of a hereditary aristocracy. Social Darwinists used it to justify a misanthropic attitude toward the bulk of the population, which sometimes found expression in eugenic policy. For all these people, hierarchy and domination were facts of nature, and facts that drove a grotesque political logic. So, while I am _not_ saying that trade books about dinosaurs are covertly eugenical, I _am_ suggesting that there is value in avoiding the rhetorical practices associated with reactionary social movements. I think I’m finished. Steve Brusatte: from a fellow fan of the other Chicago baseball team, I’m sorry to have used your fun dinosaur book to talk about eugenics. (That’s the humanities for you.) To the rest: I hope I've given you something to think about the next time you screen the Cave Girl movies. And to parents: _Dinosaur Time_ still… rules (?), factual inaccuracies and all. Yes, it shows a sauropod submerged in water because it was “too fat to run from enemies.” (Yikes!) But at least it doesn’t say that dinosaurs used to rule the earth.* [* If you’re interested in reading more on this topic, check out this old post by Derek Turner…] # References Black, R. 2023. The dinosaurs didn’t rule. _Aeon_. https://aeon.co/essays/earths-story-is-not-about-dynasties-but-communities. Brusatte, S. 2018. _The Rise and Fall of the Dinosaurs: A New History of A Lost World._ New York: Harper Collins. Gould, S.J. 1996. _Wonderful Life: The Spread of Excellence from Plato to Darwin._ New York: Three Rivers Press. Sepkoski, D. 2021. _Catastrophic Thinking: Extinction and the Value of Diversity from Darwin to the Anthropocene._ Chicago: The University of Chicago Press.

While his band Shearwater shares its name with a seabird, Jonathan Meiberg’s latest album has us thinking about _The Birds_ - the 1952 short story Daphne du Maurier famously-adapted by Alfred Hitchcock. Meiberg's forays in ornithology and climate change are well-documented, and his musical projects reflect the feelings of those concerned about the influence and future of humankind. It is not heavy handed sloganeering, but nuanced and beautiful. The Romantic result of deep study and research. The post Shearwater :: The Aquarium Drunkard Interview first appeared on Aquarium Drunkard.

Williams, Ellen W.. Raven and Crow: The Mythology, Art and Science of Our Favorite Black Birds. : MacFarland, 2025. Illustrations. 278 pp. $39.95 (paper), ISBN 9781476695006. Reviewed by Jeffrey B. Webb (Huntington University) Published on H-Environment (June, 2026) Commissioned by Daniella McCahey (Texas Tech University)

Have you ever wondered about the mythical creatures that populate the folklore and literature of different cultures? From dragons and unicorns to mermaids and griffins, these fantastical beings have c...

**Alfred Hitchcock** ’un sinema tarihine damga vuran korku klasiği _The Birds_ , bu kez sınırlı mini formatında ekranlara dönmeye hazırlanıyor. Emmy ödüllü oyuncu **Sarah Snook** ’un başrolünde yer aldığı proje, şu sıralar televizyon pazarında alıcılarla buluşturuluyor. Dizinin senaryosunu _The Leftovers_ ve _Watchmen_ gibi yapımlarla tanınan Tom Spezialy kaleme alırken, yapımcı koltuğunda ise _Harry Potter_ film serisinin yapımcısı David Heyman oturuyor. **Universal International Studios** ve Heyday Television ortaklığında geliştirilen proje, Hitchcock’un klasik filminden ilham alsa da doğrudan bir yeniden çevrim olmayacak. ### Alaska’da geçen yeni bir korku hikâyesi Dizi, günümüz Alaska’sında geçen karanlık bir hikâyeyi merkezine alıyor. Sarah Snook’un canlandıracağı yargıç _Myra Massey_ , rutin bir ölüm kararı duruşması için yıllar sonra memleketine geri dönüyor. Ancak sıradan görünen dava, çocukluk arkadaşının kurşunlarla delik deşik edilmiş cesedinin bulunmasıyla beklenmedik bir cinayet soruşturmasına dönüşüyor. Gerçeği ortaya çıkarmaya çalışan _Myra_ , kısa süre sonra yalnızca bir katilin peşine düşmekle kalmıyor; aynı zamanda açıklanamaz şekilde saldırganlaşan kuş sürüleriyle de mücadele etmek zorunda kalıyor. Böylece hikâye, cinayet gizemi ile doğa kaynaklı hayatta kalma mücadelesini bir araya getiriyor. ### Hitchcock’tan çok, Daphne du Maurier’e yakın Yapım ekibi, dizinin Alfred Hitchcock’un film uyarlamasını yeniden çekmek yerine, yazar **Daphne du Maurier** ’in 1952 tarihli kısa romanına geri döndüğünü özellikle vurguluyor. Daha önce SXSW London’da konuşan Heyday Television Geliştirme Başkanı Sue Gibbs, projenin temel çıkış noktasının kaynak eser olduğunu belirterek hikâyenin merkezinde “doğanın insana karşı dönmesi” temasının yer aldığını ifade etmişti. İklim krizi ve çevresel değişimlerin günümüzde daha görünür hâle gelmesi nedeniyle dizinin temalarının son derece güncel olduğu düşünülüyor. Du Maurier’in Cornwall’da geçen öyküsü ve Hitchcock’un Kaliforniya’daki Bodega Bay’e taşıdığı hikâye, bu kez Alaska’nın sert ve izole atmosferinde yeniden şekilleniyor. ### Güçlü bir karakter ve prestijli yaratıcı ekip Yeni uyarlamanın en dikkat çekici değişikliklerinden biri de başkarakter yaklaşımı. Hitchcock’un filmindeki _Melanie Daniels_ karakteri çoğu zaman kurtarılmayı bekleyen bir figür olarak öne çıkarken, Sarah Snook’un canlandıracağı _Myra Massey_ tamamen kendi ayakları üzerinde duran bir kahraman olacak. Yapımcıların tanımına göre _Myra_ , yardımın gelmeyeceğini bilen ve hayatta kalmak için yalnızca kendisine güvenmek zorunda kalan bir karakter. ’Succession’a Buruk Bir VedaHBO’nun en başarılı dizilerinden biri olan ve Roy ailesinin çalkantılı hikayesini konu edinen Succession, dört sezon süren başarılı yolculuğun ardından ekranlara veda etti.SinetopyaYaren Özbebek _Succession_ dizisindeki _Shiv Roy_ performansıyla Emmy kazanan Sarah Snook, son dönemde Peacock yapımı _All Her Fault_ ve Tony ödüllü _The Picture of Dorian Gray_ sahne uyarlamasıyla da adından söz ettirmişti. Dizinin senaristi Tom Spezialy ise _Watchmen_ , _The Leftovers_ ve yakında izleyiciyle buluşacak _Blade Runner 2099_ gibi prestijli yapımlardaki çalışmalarıyla tanınıyor. “Duvardaki Baltanın Kanlı İzi”: ‘All Her Fault (2025)’ Dizi İncelemesiBaşlangıçta bol bol sabır sınayan ama finaldeki keskin zekasıyla şaşkına uğratan ‘All Her Fault’, her detayın bir amaca hizmet ettiği, ustalıkla örülmüş bir yapboz gibi.SinetopyaYaren Özbebek Henüz resmi yayıncı ve gösterim tarihi açıklanmayan _The Birds_ , televizyon dünyasının en dikkat çekici korku projelerinden biri olmaya aday görünüyor. Kaynak: Deadline

Desde hace años, el icónico bloque **Cine Cartoon** de **Cartoon Network Latinoamérica** ha enfrentado una crisis de variedad notable en su rotación de películas, manteniéndose únicamente con varias producciones de **Sony Pictures** como "**_Angry Birds_** " y "_**Hotel Transylvania**_ ", y más recientemente también algunas de DreamWorks e Illumination como la saga de "_**Shrek**_ " y "_**Minions**_ ", y en su mayoría títulos basados en la franquicia de **LEGO** o en series del canal. No obstante, en el mes de junio el canal volverá a transmitir uno de los grandes clásicos de **Laika** : "_**El cadáver de la novia**_ ". Ambientada en el siglo XIX, en un pequeño y frío pueblo de Europa del este, el joven Victor Van Dort, hijo de una familia de pescaderos ricos, pierde los nervios y arruina su ensayo de boda con Victoria, hija de unos aristócratas en bancarrota. Para que los nervios no se apoderen de él nuevamente, se dirige al bosque a aprenderse los votos repitiéndolos una y otra vez, con tan mala suerte de recitárselos a una aparente rama que resulta ser una novia cadáver. Secuestrado por el inframundo y accidentalmente casado con la muerta, Victor no ve el momento de marcharse para reencontrarse con su prometida, pero escapar del mundo de los muertos no le será tan fácil: Emily, la novia cadáver, lleva esperando durante muchos años su boda y no permitirá de ninguna manera renunciar a su nuevo esposo. Mientras tanto, los padres de Victoria están cansados de esperar y, en contra de la voluntad de su hija, han encontrado a Lord Barkis, un nuevo sustituto con el que casarla. Dos novias, un novio... ¿A cuál elegirá Víctor? Dirigida por **Tim Burton** y**Mike Johnson** , contó con un guion de **John August** , **Caroline Thompson** y **Pamela Pettler** , una banda sonora de **Danny Elfman** , y la participación de Burton, **Allison Abbate** y **Joe Ranft** como productores. Está basada en un cuento popular ruso-judío del siglo XIX, y fue realizada con la técnica de stop-motion por el estudio **Laika**. Tuvo su estreno el 7 de septiembre de 2005 en el **Festival de Cine de Venecia** , y posteriormente llegó a los cines el 23 de septiembre del mismo año. Obtuvo una nominación a los **Premios Óscar** en la categoría de "_Mejor película animada_ " y actualmente es considerada **una de las cintas de animación más icónicas del siglo XXI.** "_**El cadáver de la novia**_ " se emitirá en **Cartoon Network Latinoamérica** el viernes **19 de junio** a las **20:00hrs COL | 20:30hrs MEX | 21:00hrs CHI | 22:00hrs ARG** , con **repetición** el **sábado 20** a las **14:00hrs COL | 15:00hrs CHI | 16:00hrs ARG/MEX**.

YouTube video by Harvard Science Book Talks and Research Lectures

Steve Brusatte, author of _The Rise and Fall of the Dinosaurs_ and _The Story of Birds_ , recommends 10 dinosaur books to dig into

Sega ha anunciado que Red de Angry Birds, Goro Majima de Like a Dragon y Arle de Puyo Puyo llegarán entre abril y mayo a Sonic Racing: CrossWorlds. Sega ha anunciado que Sonic Racing: CrossWorlds recibirá próximamente nuevos personajes jugables que se sumarán al juego de forma completamente gratuita como parte del **Parche 3**. Los nuevos pilotos provienen esta vez de sagas como _Angry Birds_, _Like a Dragon_ o _Puyo Puyo_. ## Los nuevos contenidos gratuitos De este modo, en los próximos meses **recibiremos los siguientes contenidos** : * **Red (abril de 2026):** Red de Angry Birds se sumará al juego como personaje jugable junto al vehículo Super Roaster. * **Goro Majima (Capitán Majima) (abril de 2026): Goro Majima en su versión de Like a Dragon:** Pirate Yakuza in Hawaii llegará al juego junto al vehículo Goromaru. * **Arle (mayo de 2026):** Arle de Puyo Puyo llegará como personaje jugable junto al vehículo Twinkle Bayoen. Las buenas noticias no terminan aquí, ya que **con el Parche 3 también podremos disfrutar de ocho nuevas canciones provenientes de diferentes sagas de SEGA** , como _Out Run_ o _Super Hang-on_. La lista de temas es la siguiente: * "MAGICAL SOUND SHOWER" por Hiro (de Out Run) * "Let’s Go Away" por Takenobu Mitsuyoshi (de Daytona USA) * "Soul on Desert" por Jun Senoue (de SEGA Rally 2) * "Like The Wind (B Course) Arcade Version" por Hiro (de Power Drift) * "Outside a Crisis" por SEGA (Katsuhiro "Funky K.H" Hayashi) (de Super Hang-on) * "Main Theme (Enduro Racer)" por Hiro (de Enduro Racer) * "God Only Knows" por A-One * "Like the Wind (Reborn)" por Sampling Masters MEGA (de Power Drift) _Sonic Racing: CrossWorlds_ está disponible en **PC, PS4, PS5, Xbox One, Xbox Series X/S, Nintendo Switch y Nintendo Switch 2** , ofreciéndonos un divertido juego de karts cuyas carreras se caracterizan por hacernos viajar a otro mundo durante la segunda vuelta.

"A definitive history of bird conservation in America.” (Kirkus Reviews, starred)From the time the country was founded, early Americans assumed that the la...

Contributed by Spencer Lachmanec _**Source:  www.ebay.com **shopskythrift (cropped). License: All Rights Reserved. _ Western Birds. An Audubon Handbook by John Farrand Jr. helps readers identify “the over 460 species of birds regularly found east of the Rockies.” It is a lengthy yet compact softcover of 416 pages, 1,314 photographs, and 100,000 words. Published in 1988 by McGraw-Hill, _Western Birds_ is one of several books Massimo Vignelli designed for the National Audubon Society. The book’s page layouts are built upon a simple two column grid subdivided into ten modules. All text is flush left. Paragraphs are not indented nor are they separated by an empty line. This creates a sharp, mostly uniform line on the left edge of text columns. Their right edge, in contrast, is particularly ragged due to hyphenation being dispensed with all together. Although the lack of paragraph indents and spacing and of hyphenation is somewhat unusual for such a text-heavy book, it is a hallmark of books designed by Vignelli and many of his modernist peers. The book was typeset by Dix Type in **Century Expanded**, one of Vignelli’s preferred typefaces. As Vignelli was wont to do, the italic is used liberally throughout. The title on the title page is kerned in Vignelli’s signature tight-not-touching style. Two subsequent section headings are kerned in the same way but the kerning (or, rather, lack thereof) of the rest of text leaves much to be desired. The spacing between the characters of the body text is much more open than the tight headings – just as one would hope and expect. The problem, however, is that for the rest of the book, in both the body and in headings, many letters have awkward gaps yawning between them. _Photo:  Spencer Lachmanec. License: All Rights Reserved. _ The tightly kerned title with the author’s unkerned name below. _Photo:  Spencer Lachmanec. License: All Rights Reserved. _ A rare case in Vignelli’s work where text appears to be evenly spaced between rules. Usually when using rules, Vignelli would set the text closer to the rule above than to the one below, creating the impression that text is hung from the rule above. In his _Canon_ , he mentions this as a “small but important detail.” _Photo:  Spencer Lachmanec. License: All Rights Reserved. _ One of 168 black-and-white drawings _Photo:  Spencer Lachmanec. License: All Rights Reserved. _ On pages where rules are separated by images or multiple lines of text, the text does look as if it is hung from the rule above. _Photo:  Spencer Lachmanec. License: All Rights Reserved. _ No elements of the layouts for recto and verso pages are mirrored. Instead, each page is uniformly designed as if it was a verso page with the page number always placed on a page’s bottom left. _License: All Rights Reserved. _ A quite obvious example of the book’s kerning issues _Photo:  Spencer Lachmanec. License: All Rights Reserved. _ One of three headings where text is kerned in a manner one would expect from a Vignelli-designed book. _License: All Rights Reserved. _ The first page of the Index is numbered but all subsequent pages are not. _**Source:  www.ebay.com **shopskythrift (cropped). License: All Rights Reserved. _ Back cover with description in italic. The ISBN is added in OCR-A. This post was originally published at Fonts In Use * * *

Sega presenta resultados y muestra preocupación ante las ventas de sus principales juegos: 'El crecimiento se ha estancado'. **Sega** anunciaba de forma reciente que tomaba el control total de _Angry Birds_, como parte de la adquisición que realizó sobre Rovio. También ha ido ofreciendo algunos resultados en ventas sobre sus últimos videojuegos, reconociendo que resultaban insuficientes. Justo ahora hemos tenido acceso a su último informe financiero, y hay aspectos importantes a comentar. La compañía japonesa indica que sus ventas no cumplieron las expectativas, ni **tanto en lo concerniente a sus novedades como al back-catalog**. Es algo que también se aplica a los **juegos free-to-play** de la marca, con "dos nuevos títulos que rinden por debajo de lo esperado". En ningún caso se concreta de qué videojuegos se trata, a excepción de _**Sonic Rumble**_ , que afirman que no rindió bien, aunque esperan mejorar la situación con actualizaciones y otras acciones. ## Ventas estancadas, problemas de calidad y Rovio Sega explica que hay una alta volatilidad en términos de ventas y una fuerte incertidumbre en torno a recuperar el dinero en inversiones. Citan como problemas el hecho de que **los juegos más importantes "tienen un crecimiento estancado" y que incluso algunos títulos adolecen de "problemas de calidad"**. Otro aspecto importante que se señala es que **el rendimiento de la adquisición de Rovio** (el estudio de _Angry Birds_) no estaría yendo según las previsiones. Tal es así, que **se ha decidido reducir el valor contable de dicha inversión hasta los 578 millones de dólares** (costó 776 millones), lo que implica un recorte de casi 200 millones. Según explican, esto se debe a un mercado móvil muy cambiante, con "una competición más intensa" dentro de dicho sector. Esto no quiere decir que Sega esté en apuros, pero sí que son conscientes de que **hay aspectos en que deben mejorar** de cara a los siguientes trimestres. En el futuro se esperan varios lanzamientos, incluyendo Persona 6, que según algunos rumores podría llegar a lo largo de este mismo 2026.

YouTube video by 박지하 Park Jiha