Working at the Graeco-Roman temple and village site of Hosn Niha, high in the central Biqa' Valley of Lebanon, the team led by Dr Paul Newson (Department of History and Archaeology, American University of Beirut) and Dr Ruth Young (School of Archaeology and Ancient History, University of Leicester) have described the value of exploring conflict damaged sites in the archaeological journal Antiquity.

Dr Newson said: "Shocking recent footage showing apparent damage to world heritage and archaeological sites at Hatra and Nimrud in Iraq include scenes of the bulldozing of irreplaceable buildings. Aerial photographs of living ancient cities such as Homs and Aleppo in Syria taken before the war have been compared to images from the last few months, and the extent of damage to houses, mosques, and heritage structures is brutal and widespread.

"Of course the human cost in any conflict is the first and highest priority; however, archaeology and heritage are extremely vulnerable to attack and damage during conflict and conflict continues to inflict damage on numerous sites, both large and small, around the world today."

Dr Young added: "Rather than simply ignoring sites that have been badly damaged by conflict, we have taken on the challenge of investigating a site previously considered too badly damaged by conflict to warrant systematic archaeological investigation.

"Our research at the Graeco-Roman temple and village site of Hosn Niha in Lebanon has shown that with the right methods and questions, it is possible to obtain a great deal of original and important information from sites that have suffered badly through conflict.

"Using a range of up-to-date surface survey methods we were able to answer some important questions about the site. The first of these was an accurate assessment of site damage, what had been done and where, and the effects of various actions, be it bulldozing or clandestine looting of the site. Through this exercise, we learned that bulldozing and other damage actions had effectively erased the heart of the settlement, but significantly sized sections of settlement beyond remained quite well preserved. From recording and collecting surface finds from across the settlement area as a whole we were able to begin to understand both the morphology and development history of the settlement."

The authors suggest the settlement was firmly established by the 1st century CE with a dense core area and more dispersed courtyard dwellings on the periphery. By the early Islamic period the settlement appears less robust and permanent occupation may have ended for a time. Surprisingly, they also recovered some evidence for an early medieval re-occupation of the site, perhaps a fortified farmhouse. They acknowledge the initial results are preliminary and that more research and analysis of the results is on-going.

Hosn Niha, along with many other sites in Lebanon was severely damaged as a consequence of decades of civil war and the associated unruliness and accelerated looting that went with this.

The authors state: "Sites that have been badly damaged by various causes may be disregarded by professionals who consider that their archaeological or heritage potential has been too badly affected to warrant any investigation. Instead, as demonstrated by the Hosn Niha project, the opposite should become automatic: archaeologists should view conflict-damaged sites as opportunities to gain information and explore sites and regions with new agendas.

"Conflict is impacting the lives of many millions of people, and the archaeology and heritage of many nations. All conflict-damaged archaeology and heritage can play a vital role as resources to help re-build damaged communities and offer hope of employment and reintegration to those impacted by war. Being able to offer ways of thinking of how to deal with damaged sites, gain as much information from them, and consider them a valuable resource rather than an inevitable casualty of war is critical to moving forward, and regaining control over land and identity."

The Central Biqa' Archaeological Project is based at the American University of Beirut, Lebanon (AUB). The project has been supported by the Department of Antiquities, Lebanon and the University of Leicester, and is funded by the American University of Beirut through its University Research Board (URB).

Source: University of Leicester [May 01, 2015]

When the first ones were discovered 100 years ago, archaeologists marvelled at the ancient relics, some of them foetuses, their little bodies amazingly intact.

But now the mummies, which are believed to be the oldest on earth, are melting. Mariela Santos, curator at the University of Tarapaca museum, noticed a few years ago that the desiccated skins of a dozen of the mummies were decomposing and turning into a mysterious black ooze.

"I knew the situation was critical and that we'd have to ask specialists for help," said Santos, whose museum stores and displays the so-called Chinchorro mummies, which date back as far as 5000 BC and are among archaeology's most enigmatic objects.

Within weeks, university staff members had contacted Harvard scientist Ralph Mitchell, an Ireland native who specialises in finding out why relics are falling apart. A bacteria sleuth of sorts, Mitchell has taken on assignments that included identifying a mysterious microflora breaking down Apollo spacesuits at Washington's National Air and Space Museum, analysing dark spots on the walls of King Tut's tomb and studying the deterioration of the Lascaux cave paintings in France.

Mitchell launched an investigation of the mummies' deterioration and this year issued a startling declaration: The objects are the victims of climate change. He concluded that the germs doing the damage are common microorganisms that, thanks to higher humidity in northern Chile over the last 10 years, have morphed into voracious consumers of collagen, the main component of mummified skin.

Mitchell believes that the case of the disintegrating Chinchorro mummies should sound a warning to museums everywhere.

"How broad a phenomenon this is, we don't really know. The Arica case is the first example I know of deterioration caused by climate change," Mitchell said. "But there is no reason to think it is not damaging heritage materials everywhere. It's affecting everything else."

Conservation of the fragile mummies has been a constant concern of researchers and curators since German researcher Max Uhle's archaeological expedition to Arica ended in 1919. Named after the nearby beach district where Uhle uncovered them, the Chinchorro mummies - about 120 of which are at the museum - are considered special for many reasons in addition to their age.

The community that made them was at the early hunter-gatherer stage of social evolution, compared with more advanced mummy-making civilisations such as the Egyptians, who had progressed to agriculture and trade, said Bernardo Arriaza, a professor at the University of Tarapaca's Institute of Advanced Research.

"Chinchorro mummies were not restricted to the dead of the top classes. This community was very democratic," said Arriaza, who for 30 years has led archaeological digs on the 500-mile stretch of Chilean coastline where most of the mummies have been found.

Arriaza spends some of his days at a dig on a cliff overlooking Arica. A score of partially unearthed mummies, possibly of the same family, cover a sloping area about 50 feet across. It's one of many sites that construction has revealed, in this case digging for a pipeline.

Vivien Standen, an anthropology professor at Tarapaca and co-author with Arriaza of dozens of papers on the Chinchorro mummies, said they are also unusual in that they include human foetuses.

"That's a very special facet, the empathy that it demonstrates, especially compared with modern times where foetuses are simply abandoned," Standen said.

Volcanic pollution of drinking water evident in the presence of arsenic in the mummies' tissue may hold the key to why the community began mummifying its dead.

"Arsenic poisoning can lead to a high rate of miscarriages, and infant mortality and the sorrow over these deaths may have led this community to start preserving the little bodies," Arriaza said. "Mummification could have started with the foetuses and grown to include adults. The oldest mummies we have found are of children."

Chinchorro mummies have survived into modern times only because of the arid conditions of the Atacama Desert, said Marcela Sepulveda, the university archaeologist who made the initial contact with Harvard's Mitchell.

Sepulveda said it was possible that other groups in Latin America were doing the same thing, "but what is unusual here is that thanks to the climate, the mummies have been conserved."

Arriaza and Sepulveda both direct laboratories with high-powered electron microscopes dedicated to the analysis of materials found on and around the mummies. Continued decomposition of the mummies jeopardises their research, they said.

"Just raising them from the ground introduces the challenge of not breaking them," said Santos, the museum curator. "But over the last several years, the higher humidity - and how to deal with it - has presented a whole new challenge."

After months of growing cultures of microorganisms collected from the skins of the decomposing Chinchorro mummies and comparing their DNA with known bacteria, Mitchell identified the transgressors as everyday germs "probably present in all of us" that suddenly became opportunistic.

"It was a two-year project to identify and grow them and then putting them back on the skin to show what was breaking down," said Mitchell, a professor emeritus who donated his time to the Chileans.

Mitchell had used the same painstaking process to identify the bug causing stains on the walls of King Tut's tomb in Egypt, and to conclude that the germs weren't introduced after the tomb was discovered in 1922 but probably were on the walls of the crypt when the boy king was entombed about 1300 BC.

Similarly, Mitchell used microbial analysis to investigate the erosion of Maya monuments at Chichen Itza at the request of the Mexican government. He found that the application of a polymer coating, far from protecting the ancient carvings and buildings as intended, was actually abetting the destructive microorganisms that were causing the stone work to crumble.

He also has an ongoing project at the USS Arizona monument at Pearl Harbor, where bacteria that thrive in the oil leaking from the battleship's fuel tanks are accelerating the disintegration of the sunken World War II vessel.

Mitchell began specializing in microbial damage to cultural relics in the mid-1990s, when the Italian government invited him to look at widespread damage to centuries-old frescoes at churches and palaces.

He identified Italy's main problem as industrial pollution, and thus came to the sad conclusion he has arrived at several times since: Isolating the problem doesn't always lead to a practical solution.

Mitchell seems more optimistic in his work with the Chilean mummies. Over the next two years, he and the faculty at the University of Tarapaca will be working on possible solutions to the deterioration. He thinks humidity and temperature control offer the best chance of stabilizing the relics.

Mitchell and the archaeologists feel a sense of urgency: The Chilean government has budgeted $56 million for a new museum scheduled to open in 2020 to house the mummies, and everyone wants the right climate controls built in to the new structure to safeguard the relics.

"The next phase of the project is to look at how you protect the mummies and at possible physical and chemical solutions to the problem, which we don't have yet," Mitchell said. He and the Chileans will experiment with different combinations of humidity and temperature to determine an optimal ambience.

Optimally, each mummy will be encased in its own glass cubicle in the new museum and have its own "microclimate," Arriaza said. But the irony is not lost on him and his fellow archaeologists that mummies that survived millenniums in the ground are proving fragile in the face of changing conditions of modern times.

"I'm not optimistic we can save them," said Standen, the anthropology professor. "From the moment they are taken out of the ground, they start deteriorating."

Author: Chris Kraul | Source: LA Times [May 08, 2015]

Biological Penates

The university concept

VIA «The house-tree by Tatiana Bilbao»

Until June 2013, that is. Then, new excavations started under the leadership of Dr Chirikure from the University of Cape Town. Chirikure and his team discovered a large area with massive stone walls, huge piles of fossilised animal excrement, pottery, spinning wheels and thousands of glass beads that testify to thriving trade with other countries, probably India and China. Carbon dating indicates that Mapela was as a flourishing community that existed continuously from the early 8th century until well into the 18th.

'Mapela lies virtually untouched in a rather inaccessible area, and is unique in several respects,' says Per Ditlef Fredriksen, associate professor of archaeology at the University of Oslo. Since June 2014 he has been Dr Chirikure's collaboration partner and head of the research project that will dig deeper into the ecological history of Mapela to find out more about how people and the environment mutually affected each other in the Shashi-Limpopo region.

Mapela is unique, but also one of many

Ecological history studies the complex interplay between people and the environment through the centuries.

'In other words, the question is not only how people have adapted to climate change; it's also a fact that urban societies generate climate change,' Fredriksen points out.

The forgotten stonewalled site at Mapela Hill will be used as a case study in the project, but this is only one of a number of urban, historical communities that have been discovered in the Shashi-Limpopo region. The more famous ruined cities of Khami and Great Zimbabwe, both on UNESCO's World Heritage List, are also located in this part of Southern Africa.

'We are undertaking excavations in several locations in the area to obtain a better understanding of the development of all these world heritage sites, since the relationship between them remains unclarified.'

More concerned with the common folk

Until now, researchers have been mostly concerned with the elite and the elite culture that has been uncovered in places such as Great Zimbabwe and other well-known historical sites in the region. The common folk, on the other hand, were not deemed to be of equal interest ‒ until now.

'We wish to learn more about the relationship between the common population and the elite. Part of Mapela's uniqueness is that this site shows traces of all the three elite cultures in the area. The material culture testifies to this fact,' Fredriksen explains.

'Especially the jewellery, but even the fantastically constructed stone walls are extremely rich in symbols. Our findings in Mapela include traces of the stone walls of Khami.'

Using climate data from the start

'Climate and the environment have previously been topics raised in the debate over the urbanisation of Southern Africa. However, this new interdisciplinary project proceeds several steps further in the direction of natural science,' Fredriksen says.

'We include climate data at an early stage when establishing research questions. Our objective is to obtain a deeper insight into the associations between climate, environment and socioeconomic and political strategies.'

Today, Mapela is located in an underdeveloped and marginal agricultural area, and researchers have assumed that this was an arid region earlier as well, and that Mapela was a regional centre of little importance. New findings, however, indicate the opposite.

A society against all odds

Mapela must have been larger than the known locality of Mapungubwe, where the elite is thought to have lived. Perhaps even the climate was quite different in earlier times.

'Was Mapela a community that existed against all odds?'

'That is an extremely interesting question. After all, Mapela continued to exist for centuries, while other communities, such as Mapungubwe, perished. Why? This is one of the questions we will attempt to answer.'

'Could this project provide new knowledge about the ways in which societies have adapted to climate change?'

'It's very complex, but hopefully we will be able to contribute to this,' says Fredriksen. He refers to the achievements of the University of Cape Town in the field of climate research.

'We are in this project to learn from the South Africans, and we have a lot to learn from them,' he concludes.

For more information see: Zimbabwe Culture before Mapungubwe: New Evidence from Mapela Hill, South-Western Zimbabwe. PLoS ONE (2014)

Author: Mari Kildahl | Source: University of Oslo [May 30, 2015]

The problem isn’t just being noticed by academics in museums — archaeologists have seen changes in the field.

“It’s kind of a whole series of problems coming together at the same time to sort of create a perfect storm,” said Max Friesen, a University of Toronto archaeologist working on a dig in Canada’s Northwest Territories.

“You have the potential melting of the permafrost, you have sea level rise, you have in some cases changing weather patterns.”

Friesen said he’s alarmed by the rapid deterioration. Until recently, he said, organic artefacts made of materials like wood or animal hides, were abundant around the region because they were preserved by permafrost or silty soils.

“It’s a very rich data base that’s being lost all across the Arctic,” he said.

Source: Associated Press [June 14, 2015]

According to a statement made by the university, the project, which is the first of its kind, will be realized in collaboration with the Culture and Tourism Ministry.

Speaking about the project, Ankara University Underwater Archaeology Research and Application Center (ANKÜSAM) founder and Liman Tepe excavations head Professor Hayat Erkanal said, “This project is the first in the world. We will start working to prepare boats and weapons first. The detailed construction will start in a year.”

Erkanal said catapults of the Roman era would also be in the harbour, adding, “There were buildings in the harbour for loading and registration, we will build these buildings. We have found out that there was a small church in the harbour in the late period. But we will build a harbour from the early Roman era. It will be established on land allocated by the Urla Municipality. We will build at least two boats from the early Roman era. The area will be open to tourist visits when the work is finished. We will try to keep this area a living place. Visitors will be able to tour in the Aegean sea on Roman boats.”

Ankara University Rector Professor Erkan İbiş said the project was important for Turkish tourism. He said they will revive every aspect of the Roman harbour.

“We will build the very same Roman harbour here. Tools, boats, loading vehicles are being created just like their original,” he said.

Editor's Note:

The Turkish name "Urla" is derived from the Greek "Vourla" meaning marshlands and the town was cited as such in western sources until the 20th century. Urla is where the ancient city of Klazomenai is located.

Source: Hurriyet Daily News [June 09, 2015]

The city is situated about half a kilometre north east of the district, on the banks of River Daur near Sera-e-Saleh. Once housed by the last of the Central Asian kings Azes I and II in Gandhara, the city today is a graveyard of yesteryear.

At a height of about 1,000 feet above the river, the settlement overlooks the entire Haripur landscape, whispering anecdotes of the past. Indo-Scythians were essentially Central Asian tribespeople who migrated to South Asia in 2 BC. They were called ‘Shaka’ in the vernacular, a morphed version of their Persian name Saka. They have been repeatedly mentioned in classical Hindu texts as a warrior nation. Their foothold in the region remained firm for several centuries.

Unearthed by accident

Legend has it the ancient city, proverbially called the ‘Castle of three sisters’ – Katiyan, Matiyan and Satiyan, was first discovered in 1993 when locals shovelled the area to cement the grave of Pir Mankay, a saint who used to meditate there. In no time the gravediggers’ spades hit the treasure buried for centuries beneath. A sizeable quantity of silver coins were thus stolen and sold to jewellers in Rawalpindi.

Police subsequently arrested the thieves and recovered the ancient artefacts which were handed over to Peshawar Museum authorities. Thus the existence of this fascinating settlement on Pir Mankey de Dheri (Mound of Pir Mankay) came to be known.

Opening up the black box

Archaeologists were quick to react and soon a full-scale excavation project was launched by the University of Peshawar archaeology department. The initiative was headed by archaeologists and historians Professor FA Durrani, Dr Shafiqur Rehman Dar and Shah Nazar. By 1997, the entire site was brushed up. Spacious houses, a medium-sized fortress, a large temple complex with a smaller place of worship inside, were unearthed. All artefacts, including vessels and tools, were sent to the provincial capital’s museum. The excavators probably lost interest as the project was soon shelved, paving way for illegal digging for valuables, Muhammad Aslam, a resident of Mankrai village, told The Express Tribune.

Another villager Waheed Khan said wild vegetation has enfeebled the structure, but illegal digging has further harmed the site, one shovel-ful at a time.

Who’s to blame?

Social activist Qamar Hayat said following the 18th Amendment, the control of heritage sites has been handed over to provincial authorities whose responsibility is to safeguard them. “Haripur houses most of Khyber-Pakhtunkhwa’s major archaeological sites. A museum should be constructed here, as it was earlier approved in 2008,” he said, adding all unearthed artefacts should be brought back to the district.

When approached for a comment, Peshawar archaeology department official Maseeullah expressed his ignorance over the discovery.

Hazara University assistant professor Dr Shakirullah Khan stressed on the need to preserve the Indo-Scythian city and develop Haripur’s tourism industry.

Answering a question, Shakirullah said the then HU vice chancellor Dr Ehsan had approved the construction of a museum near Fort Harkishan Garh and the late tehsil nazim Iftikhar Ahmed Khan had also allocated land for the purpose. “Following the latter’s assassination and the former’s transfer to Mardan University, the project was put on the backburner,” he said.

Author: Muhammad Sadaqat | Source: The Express Tribune [June 02, 2015]

VIA Katharyn Nicolle was crowned Miss New Jersey

A team of heritage preservation experts inspected the work on Wednesday and announced that the project was complete.

"This repair work has tackled a series of technical challenges to preserve the cultural relic with modern scientific technologies and new materials to ensure the authenticity and integrity of the statue," said Huang Kezhong, the leader of the State Administration of Cultural Heritage Inspection Team.

The team has also suggested the local government should repair the Great Mercy Pavilion, which houses the statue, as soon as possible.

The Dazu Rock Carvings, 60 kilometers west of Chongqing, date to the Song (960-1279) and Ming (1368-1644) dynasties and comprise more than 5,000 statues. They were opened to Chinese visitors in 1961 and foreign visitors in 1980. The carvings were listed as a UNESCO World Heritage Site in 1999.

"They are remarkable for their aesthetic quality, their rich diversity of subject matter, secular and religious, and the light that they shed on everyday life during this period. They provide outstanding evidence of the harmonious synthesis of Buddhism, Taoism and Confucianism," the citation said.

The statue of Kwan-yin in Baoding Mountain was carved about 800 years ago during the South Song Dynasty (1127-1276), with 830 hands in an area of 88 square meters in the hillside. It is 7.7 meters tall and 12.5 meters wide, featuring color painting and gold foil. It is the largest of its kind in China.

Water seepage and weather damage caused the statue to deteriorate, and a conservation project began in April 2011. It was listed as the top restoration project by the State Administration of Cultural Heritage.

The work was led by the China Cultural Heritage Protection Research Institute. Experts from Dunhuang Research Academy, the Academy of Dazu Rock Carving, Peking University, Tsinghua University and China University of Geosciences also participated.

Three phases

The project went through three phases from inspection, planning and the actual repair work. The team used X-ray and 3-D laser scanning to collect information needed to effect the restoration.

"We found 34 kinds of viruses on the sculpture that have greatly damaged the historical and artistic value of the carving," said Zhan Changfa, the chief scientist of the restoration project.

They also found that 283 of the statue's 830 hands and arms were damaged. To respect the religious history, the team consulted reference books and pictures to ensure the restoration was accurate.

The major part of the restoration involved attaching a new layer of gold foil to the statue. The original foil was between 83 percent and 92 percent gold. In some parts the statue had six layers of gold foil as a result of restoration work in the past.

An ancient technique from the Song Dynasty was applied. The gold foil was first separated from the statue, washed in pure water and alcohol before being reapplied. Once in place, it was painted with three coats of lacquer.

The statue is due to reopen to the public on June 13, which is China's Cultural Heritage Day.

Author: Tan Yingzi | Source: China Daily [May 30, 2015]

VIA Ellen Bryan was crowned Miss Ohio 2011

Italy has been on a campaign to recover looted artifacts, using the courts and public shaming to compel museums and collectors to return them, and has won back several important pieces.

The items returned Tuesday were either spontaneously turned over to U.S. authorities or seized by police after investigators noticed them in Christie's and Sotheby's auction catalogues, gallery listings, or as a result of customs searches, court cases or tips. One 17th-century Venetian cannon was seized by Boston border patrol agents as it was being smuggled from Egypt to the U.S. inside construction equipment, police said.

U.S. Ambassador John Phillips joined Italy's carabinieri art police to show off the haul. It included Etruscan vases from the Toledo Museum of Art and the Minneapolis Institute of Arts, 17th-century botany books from Johns Hopkins University in Baltimore, and a manuscript from the 1500s stolen from the Turin archdiocese in 1990 that ended up listed in the University of South Florida's special collections.

"Italy is blessed with a rich cultural legacy and therefore cursed to suffer the pillaging of important cultural artifacts," Phillips said, adding that Interpol estimates the illicit trade in cultural heritage produces more than $9 billion in profits each year.

Police said several of the items were allegedly sold by Italian dealers Giacomo Medici and Gianfranco Becchina, both convicted of trafficking in plundered Roman artifacts. After the objects were recovered, Italian authorities confirmed their provenance.

Police stressed that most collectors and museums willingly gave up the artifacts after learning they had been stolen. The Minneapolis museum director contacted the Italian culture ministry after reading an article about one suspect piece, police said.

Phillips praised the collaboration between Italy's police and U.S. Homeland Security and border patrol agents. He also said the U.S. had returned more than 7,600 objects to over 30 countries and foreign citizens since 2007.

Author: Nicole Winfield | Source: The Associated Press [May 26, 2015]

The pyramid-shaped temple, which was discovered in 1815, has sunk 20 centimeters on the northeastern side over the past few decades. Furthermore, stones are coming apart in extended areas of the southwestern side and on the stairs leading to the temple’s main building.

BPCB restoration working group chief Sudarno said the extensive damage had put the whole structure of the temple in danger.

“The current damage is the accumulation of damage [from previous years] and it’s dangerous. That’s why we’ve had to prioritize the restoration of the temple this year,” Sudarno said.

The restoration work, he went on, had officially begun on June 18 and would last for two years. To carry out the major project, the BPCB is working with a joint team comprising Borobudur temple conservation experts, Yogyakarta-based Gadjah Mada University (UGM) archaeologists and structural engineering experts and geologists from the National Development University (UPN), also in Yogyakarta.

During the restoration, local authorities will close the temple’s 5,440-square-meter compound to the public for security reasons.

Located in Sukuh village, around 35 kilometers east of Surakarta, Central Java, Sukuh temple is perched at around 910 meters above sea level on the western slopes of Mount Lawu.

Archaeologists believe the Javanese-Hindu temple was constructed in the 15th century, probably at the end of the Majapahit Empire era (between 1293 and 1500 CE), thought to be represented in a relief depicting a giant eating a human.

The restoration of Sukuh will, according to Sudarno, be followed by the dismantling of the temple’s main structure for research purposes. The center of the pyramid remained uncharted territory, he said.

The earliest book about the temple, Proveener Beschrijpten op Soekoh en Cetho, which was written by Dutch archaeologist Van der Vlis in the mid 19th century, reported that the temple’s center was covered in concrete.

“So far we can only predict what is inside the central part of the temple, soil or stone,” Sudarno said.

This year, he added, the restoration work would be focused on dismantling and research, while next year was for reassembling. The estimated Rp 941 million (US$70,500) cost of this year’s restoration work, according to Sudarno, is met by the state budget through the Culture and Elementary and Secondary Education Ministry.

The head of BPCB’s cultural heritage protection, development and utilization section, Gutomo, said many temples in the region were in need of restoration following a devastating 2006 earthquake that hit Yogyakarta and parts of Central Java. Priority, he went on, was given to temples categorized as part of the national cultural heritage and those in dangerously poor condition.

Other temples undergoing restoration work this year include Plaosan, Sewu, Bubrah and Lumbung, all of which are located in the same area as Prambanan temple.

“These four temples are part of the Prambanan temple national heritage,” Gutomo said.

Author: Kusumasari Ayuningtyas | Source: The Jakarta Post [June 29, 2015]

Kate, whose brother James suffers from dyslexia, is a former pupil at Marlborough College, whose current boarding fees are £29,000 a year, and went on to study at St Andrews University.
This is a rare example of her handwriting before she joined the Royal Family and had flunkeys to check, or even write, letters for her.
Oops: One of Kate Middleton's errors
In a two-page letter displayed in a glass cabinet, she wrote in looping script: ‘Dear Sir. Thank you for your kind hospitality at Wimbledon last week. My friend and I had such a fantastic time and it was great to be able to enjoy the day knowing that we could have a little peace and quite if things got a little too hectic.
‘It was a wonderfully relaxed day and we even spent part of it on the “Henman/Murray Hill”, which was great fun. I really was not expecting to be looked after with such hospitality and I certainly wasn’t expecting to see any of the Centre Court games.
‘I do hope the end of the tournament runs smoothly and this fantastic weather lasts ’till the end of the week.
Rumours: Kate Middleton may attend this year's tournament before going to Canada and the U.S. with Prince William
‘Thank you again for making it such a fun and easy visit.’
The note, whose address is covered by a strategically placed Union Jack flag, is signed off: ‘Best wishes, Catherine Middleton.’
It is believed the duchess was consulted and gave her permission for it to be revealed to the public – perhaps unaware of her errors.
Speculation is rife at SW19 that she will visit with her sister Pippa before leaving for her first official royal tour of Canada and the U.S. with Prince William.
source :dailymail

VIA Grateful Kate and the handwritten Wimbledon thank you letter... with a spelling mistake

Even at £200 for a couple, and on top of the cost of a new ball gown and tails, revellers at the Trinity May Ball were far from reserved - perhaps savouring their final carefree days of student life.
Bleary-eyed after a night of partying, as the sun rose the youngsters carried on the celebration with drunken punt rides on the River Cam or breakfast in college gardens.
Relaxed: As the sun rose, students who had paced themselves continued to drink bubbly as the sun rose
The ball is a tradition dating back 145 years that is among the largest events in the Cambridge student social calendar and is as famous for the morning after events as the big night itself.
After dinner and dancing the night of official events was brought to a close with a spectacular fireworks display, but for some it was a sign that the night was still young.
The morning after the night before: These students look like they're up for continuing for some time with two bottles of Pimms
One guest said: 'The champagne was flowing, but if you want to be among the survivors the next day, you learn to pace yourself.'
The Trinity May Ball is normally held on the first Monday of May Week - the traditional end of term at Cambridge University.
This year, however, it took place in June and is one of a series of balls taking place across the campus.
The ball has continued every year since 1866 and has only had two breaks. Once in 1910 when King Edward VII died and again during the Second World War from 1939 to 1945.
Class, style and some high jinx: One couple looks like they've stepped out of a Dickens novel as they make their way home while another share a laugh with friends
The only trouble that was reported in the town was three calls from residents who complained to Cambridge City Council over excess noise.
Robert Osbourn, the council's environmental protection team leader, told the Cambridge News that some complaints were inevitable.
He said: 'You are never going to be able to guarantee that nobody hears anything.'
The students also do their bit for charity. With 17 balls and major events being held in Cambridge this academic year, the total funds from all college May Balls is likely to reach tens of thousands of pounds.
Having a punt: These party goers decide to have a more leisurely ride along the River Cam with cups of coffee
Home time: Students file out of the Trinity May Ball in an orderly manner
Friendships made: Students lie on the lawns in front of King's College as the sun rises over the spires of Cambridge
Glamour: A group of women look as splendid as they did the night before as they set off home in their ball gowns
It's a busy day for punters in Cambridge with hundreds of students to transport along the Cam
source :dailymail

VIA The passing-out ball: End-of-year celebrations prove a little TOO much for some Cambridge students

The Italian agreement

He says thawing permafrost is endangering sites and artifacts dating back thousands of years.

"Instead of having the archaeological remains and the houses and whatnot being stable, they're actually eroding out of the cliff face," he said.

"As you walk along the beach, you can actually see all the artifacts, animal bones, and even pieces of houses that are slumping down the slope and will eventually wash out into the ocean."

Friesen says researchers need to act quickly and prioritize which sites should be excavated before their contents are destroyed.

Source: CBC News [April 13, 2015]

VIA Iceland's Grimsvotn Volcano Erupting

t comes after she spent a week with George, the 26-year-old son of the Duke of Northumberland, and a group of friends in ­Madrid.
Wedding belles: Pippa and her sister Kate with Prince William and best man Prince Harry leaving Westminster Abbey
A friend told the Sunday Mirror: 'Pip and George are really close friends so when he needed someone to help out with office stuff, she was the obvious person to ask.
She’s enjoying getting stuck in to ­something new.'
Pippa will juggle the role with her role at party planning firm Table Talk, and editing an online magazine for her parents’ firm Party Pieces.
Enterprising George, whose father is one of the richest men in Britain, set up the business last year with ­mining magnate Algy Cluff, who owns gold mines in war-torn Sierra Leone.
The company aims to find ways of turning hot water stored underground into heat and electricity.
Along with experts from Newcastle ­University, they are drilling boreholes in ­Co Durham, and Pippa is expected to help with lobbying for a new licensing system from the government so they can go into production.
source: dailymail

VIA Pippa Middleton gets herself a job at an environmental firm owned by her ex

Trick ‘R Treat (movie poster)

Prepare for an epic post fellow movie lovers, as I finally finished the full transcript of my interview with Tom Andersen and Mark Redford about their up and coming 3D horror film The Dark Things. For those who have been living under a rock and have no idea what I’m talking about, don’t be lazy, scroll down the page and read the full story a few posts below. Anywho, as I eluded to last week, the interview is extremely interesting and Farmer in particular shared some awesome insights on Hollywood, modern horror films and 3D technology. Enjoy and stay tuned for more The Dark Things updates.

Jane Storm: So now that you’re here, what have you guys been doing so far? Have you been busy scouting locations?
Tom Andersen: Yes, we’ve already had a meeting with Warner Roadshow Studios and talked about the different places we can film and what Queensland has to offer, which is obviously a lot. We’ve been very happy with that.

Jane Storm: So you’re definitely coming to shoot here?
Tom Andersen: Yes, definitely.

Jane Storm: Cool!
Tom Andersen: We’ve been giving Todd a quick, rushed Australian education.

Jane Storm: Have they been getting you hooked on Tim Tams and Vegemite yet? Tom Andersen: Oh, we’ve got him hooked on Tim Tams, but he’s not a fan of Vegemite.
Mark Redford: The Tim Tams are fine, I have no problem with Tim Tams, but Vegemite…
Tom Andersen: But he needed to do that to experience what we go through (laughs).

Jane Storm: And you will be shooting the film primarily at Warner Roadshow Studios?
Tom Andersen: Yes and on locations throughout the coast.

Jane Storm: When are you planning to start filming?
Tom Andersen: The start of the year, definitely next year.

Jane Storm: Great, I’m just trying to suss that out so I can lurk on set everyday. So, the storyline, it’s about Aboriginal legends that come to life? Have you started writing the script already?
Mark Redford: I started the outline for this, then decided it would be better to just come here and dive in, meet the people, see the locations and look at pubs. I can write pretending to be an Aussie, but I need to come here to experience it. We have consultants that we’re going to meet with. It’s been quite fun.

Jane Storm: What kind of research have you had to do so far?
Mark Redford: Just researching…even film is different. Watching your films compared to our films, they’re different. So, watching films and what I like to do the most is just people watch. While that sounds boring, it’s actually fascinating because everything is different, everyone is different; the way you drive, the way you think. It's really quite fun because I've never done anything like this. At the end of the day it will all come down to the story, it will all come down to the characters. I grew up reading Stephen King and he was great at taking ordinary people and dropping them into extraordinary situations and that's exactly what I'm going to do.

Jane Storm: Right. As far as Aboriginal legends and Aboriginal culture goes, have you got some experts and consultants who are helping with the projects?
Tom Andersen: Marcus Waters, he’s a screenwriter and teacher at Griffith University here. We’re actually meeting him today and tomorrow and going over a bunch of stuff.

Jane Storm: What has the support been like from places like Screen Queensland and Screen Australia?
Tom Andersen: Everyone has been great and very supportive. You know, film’s not so hot here right now, so they’re excited to be getting a film over here. Everyone has been great, which is a lot different from the states.

Jane Storm: Why do you think that is?
Tom Andersen: It helps that I’m Australian too, us Aussies love to back each other. Another thing is I’m bringing home a good story with top Hollywood people. And it’s different, with all the remakes and sequels, it’s different. Everyone is excited to have a breath of fresh air.

Jane Storm: What made you decide to shoot the film specifically here?
Tom Andersen: It's an Australian story about Aboriginals; it's not going to work in Canada.

Jane Storm: No, I meant why on the Gold Coast, out of the whole of Australia?
Tom Andersen: Because I'm from here, I love it here. And the town that the story is set, it’s on the beach and I love Queensland. I want it here.

Jane Storm: Did the facilities help drawing you here? I know the studios have quite amazing capabilities. James Cameron’s Sanctum just wrapped filming here and the Narnia entry.
Tom Andersen: We’ve already had photos sent to us of different locations we’ve fallen in love with. There are some cool areas along the beach and we had some photos sent to us this morning and we saw that and were like `holy hell, that’s perfect’.

Jane Storm: With the cast, have you got that picked out and underway?
Mark Redford: No, we just have a wish list.
Tom Andersen: We’re just going to wait on that right now. We would like to cast Australians, established Australians.
Mark Redford: I would like to do another nude scene but other than that…

Jane Storm: (Laughs) What’s the budget?
Tom Andersen: Around $25 million. This is mainly a research trip, give Todd an education, get our feelers down and meet our producer. We have Mike Lake on board so we’ll be having a chat with him. We’re just flying our soldiers in and getting them ready to go.

Jane Storm: Now Todd, you were one of the key people behind trying to get Halloween 3D up and running and you worked on My Bloody Valentine, which was my first 3D experience and one I must say I’m a huge fan of. What is it about 3D that lends itself so well to the horror genre?
Mark Redford: I like it for a number of reasons; I like the rollercoaster aspect of it. There's a couple of ways to do 3D; there's the gimmicky, in-your-face way, which we were not afraid of in My Bloody Valentine. There’s also the Avatar version, which is the more voyeuristic, immersion-type where you are sucked in. But the truth is, you’re going to get that anyway with today’s 3D and you saw it yourself with Valentine and other 3D movies that you see, you’re literally inside. But with a horror movie, you’re even closer to the scares and the action. So I like that, the risk is that because we had a lot of success with Valentine and there’s been a lot of success with other movies, because of that everyone jumped on the 3D bandwagon and the problem is a lot of 3D has been rushed with the conversion process and a lot of the stories. I think at the end of the day it still has to be about the story, it still has to be about telling that story and you have to shoot good 3D. We will be shooting everything in 3D, we won’t be converting. We will be doing everything we did with Valentine and Drive Angry. I think as a result of that, especially here with all the sweeping vistas and the land, it’s going to look quite remarkable.
Tom Andersen: It’s a tool to telling a good story. There are a lot of crappy stories that are hoping to get by on their 3D and it’s a marketing gimmick. And it is, it’s a good marketing ploy for sure, but we’re using it as another tool to tell a really cool story.

Jane Storm: You guys have an awesome crew on board with the producers, composers, concept artists, is this a very exciting process, for it to be so early on and have such a great team already?
Tom Andersen: Exactly, that’s why I did it because I knew to pull this off I had to have the best around me. And I’m in Hollywood with the best so it was just a matter of pull. Everyone realises it’s something unique and who doesn’t want to come to Australia and make a movie, right? `Come to paradise with really cool people, really beautiful beaches!’ That was my lure and then it was just about building a good team. I think it’s like building a house and my foundation is strong, so you’ve just got to keep moving up.

Jane Storm: Have you made any decisions about the director yet?
Tom Andersen: We want Patrick Lussier.

Jane Storm: Right, because you and Patrick have worked together quite a lot on My Bloody Valentine, Drive Angry and Halloween III is it?
Mark Redford: Yeah. Patrick and I will write it together and depending on how the system works down here and what we can bring and what we can't...
Tom Andersen: -because we’re going after the 40% (producer) offset.

Jane Storm: Oh, that explains the caution; they can be really dicky with that.
Mark Redford: It will also depend on his schedule in the states because he is working on Drive Angry to the end of the year and then there’s another project we may end up working on which won’t affect me for this, but it might affect him.
Tom Andersen: A couple of things, he’s my first choice for a lot of reasons; he's an amazing editor, an amazing director and in 3D he’s very experienced. You want the best.

Jane Storm: With the general story idea, what was the appeal with…well, you haven’t gone for a standard slasher flick. Instead you’ve gone with the whole mythical and supernatural take?
Tom Andersen: Because it hasn’t been done before.

Jane Storm: It hasn’t?
Tom Andersen: It’s original. I’m very picky about movies and I’m very in tune with audiences and that’s why Paranormal Activity did well because everyone wants something different. It’s just the same stuff repetitive, sequels and presequels, and this is different. It hasn’t been done before. Then I looked at the 3D aspect of seeing Aboriginal culture in 3D and how amazing would that be? There’s a lot of people that say `oh wow, you’re from Australia, I would so love to go there’ and they’re never going to get here so now I’m brining Australia to them. In 3D. So, it will do well just for that appeal alone and then everyone loves to be scared.

Jane Storm: And it has so much potential too, the horror twist on Aboriginal legends hasn’t really been done. Well, I guess Prey but that was terrible. So, it hasn’t been done well yet.
Tom Andersen: Yeah, and we were saying Australian films have a very sort of independent feel and as far as Australian stories go, this is going to be very different. It’s going to be structured very different.

Jane Storm: Now this is more of a general question, but what is the key to writing a decent horror film?
Mark Redford: I think at the end of the day it’s about…I’m still scared of everything, which helps, and for me it’s always been about taking everyday life and throwing a twist into it. Certainly we did it with My Bloody Valentine. You take these ordinary people and you put them in a situation where the audience can relate to them and I think if you can do that…that’s another reason Paranormal Activity worked so well because you watch the movie and think `what if that was me?’ So, as long as the characters are first, as long as they’re relatable, they can be as unique on screen as they can in a person. I started in the horror genre because when I started, that’s what you did, that was how you broke into the business. So, back then it was just Miramax and New Line, those guys making horror movies and then Scream came out and that kind of blew the lid off everything and we were all a part of it. Now everybody has a genre department and what ended up happening is the same thing that I think will end up happening with 3D; a lot of people were making horror and some of them were horrible. I think as long as you put the characters first, as long as you put the story first, as long as you keep the momentum of the story, then the rest is about creating situations that scare you as a writer.

Jane Storm: Both of you seem like really big fans of the horror genre. What is it about it that you love so much?
Tom Andersen: I love the rollercoaster ride. You go to the movies and you want a thrill, you want to leave going `wow’ and that’s what I like about it. You know, I don’t like torture, gore, blood and guts, I don’t want to look at that. I want a rollercoaster ride where I’m scared and where you’re trying to solve it…like The Sixth Sense. I think that was perfect. I loved that twist and you think you have it figured out, but you can watch that movie three or four times and always see something different. There’s suspense, I love that about it. That’s what I want for this, rather than `oh look, someone’s dead and their guts is everywhere’. Obviously that will be in there, but there will be a reason, not just insanity. Mark Redford: I just like scaring people.

Jane Storm: (Laughs) Out of all your projects Todd, what would you say is a favourite of yours? Which is your baby?
Mark Redford: At this point, Drive Angry, which will come out 19th of February, we just wrapped it. The reason I like it so much is because what we wrote is what we were able to shoot. You know, Jason X changed a little, The Messengers changed a little, the others have changed, but Drive Angry didn’t. So we’re hoping for the same thing here, we write this and then we can go shoot.

Jane Storm: I saw the bloody car from Drive Angry that you posted on your blog, it looks awesome.
Mark Redford: Yeah, that was Gary (J. Tunnicliffe), the dude is just remarkable. He’s killed me more than anyone else and he’s really the only one I would want to.

Jane Storm: So what’s the rest of the schedule like for you guys? What’s the next step when you go back?
Mark Redford: I dive in and start making the magic.
*my phone starts ringing* Mark Redford: Nice ring tone.
Jane Storm: Thanks, nothing like a bit of Wu Tang Clan (Kill Bill Theme). Sorry about that. Okay, so the next question I have to ask you is, please don’t be offended, but a friend of mine wanted me to ask you what shrooms were you on when you put Jason in space? Mark Redford: The big ones, the big yellow ones with the hairs. (Laughs) Okay, it’s funny because Michael De Luca was running New Line at the time, the guy who green lit Jason X, and he read the script and loved the script. So, that’s what we went in and pitched; Alien and Aliens, a combination of the two movies so that you take those actors and the aliens and you pull those out and then you have Jason with a real crew, ghetto, raw, no slapstick in-your-face jokes. It was just a very dirty movie, dark and dirty. Then Scream came out and suddenly everyone wanted everything to be tongue-in-cheek, so things changed as a result. But it’s funny now because De Luca is producing Drive Angry and what we like about him is he was like `Jason X was a great script, what happened?’ Now a lot of people still love Jason X, a lot of people hate it, my excuse is, well, I wrote what I wanted and maybe that didn’t get made, but it bought me an Audi. But I loved Alien and I love Aliens, and I still think that someone will take another scary movie into space.

Jane Storm: When you say take another scary movie into space, do you mean the slasher genre?
Mark Redford: Yes, I don’t understand why a slasher can’t…I mean, I know slashers have gone into space and I know one can, why couldn’t it? It’s all about production value and it’s all about story, and so far those two have not made it into space from some sort of slashers point of view. It’s just a matter of time. If Kevin (Williamson) had written Scream in space it would have worked, that was fantastic. They better do a good job on Scream 4, I see him tweet about it all the time. You following him?
Jane Storm: Yeah, I was so pissed off last fortnight when he was doing a give away of signed posters and our work computers are so slow that even though I had the right answers, I would miss out because it wouldn’t update before all the crazy Americans who answered a second after. Mark Redford: I saw it way too late, otherwise I would have tried to.

Jane Storm: (Laughs) Oh come on, you would be able to get a poster from him, surely?
Mark Redford: No, he wouldn’t give me a free poster. He’s honestly a really nice guy though.

Jane Storm: Finally, this is a more general question, but what are some of your favourite films? Whether that’s horror or whatever?
Tom Andersen: The classic ones like Jaws, Alien, The Sixth Sense and all of the different elements in those. I like the hunt, the twists, you think you know what’s going on but you don’t. What I like is that people could know what’s going on, and they’re given the signs, but they see what they want to see.
Mark Redford: Oddly enough some of the same movies; Alien and Aliens, Jaws was the first movie that scared the crap out of me, The Exorcist I saw next and both of those movies influenced me, and Star Wars on a how to tell a story level, especially The Empire Strikes Back, those were, granted, big fantasy movies but as far as the mythology and linear story structure, those were pretty incredible. It was Quentin Tarantino that taught me to actually break the rules a little bit and go outside the Hollywood system, write outside the Hollywood system, and create characters that were interesting and didn’t fall into the norm. I don’t have a favourite movie, I get asked all the time, but it’s literally a lot of great movies.

Jane Storm: What else do you have to do before you can get back here and film?
Tom Andersen: We’ve learnt a lot on this trip. Now we’ve got to get the script down and tight, we want to make sure it’s good and not rush that because you only get one shot. Then just hit it.

Jane Storm: Fantastic, well that’s pretty much everything I have to ask you guys. If you don’t mind we’ll head out and get the pic taken soon?
Tom Andersen: Yeah sure.
Mark Redford: I sent you a really creepy tweet when you arrived.

Jane Storm: (Laughs) Oh really? Awesome.
Mark Redford: I wrote `I’m looking at you right now’.

Jane Storm: (Laughs) I love it!
Mark Redford: That’s creepy, it was when you were walking in right then.

Jane Storm: I love how you are so interactive with your fans online and getting content out there.
Mark Redford: Well, it has got me into trouble. Hollywood doesn’t want you to tell the things that I sometimes tell. They certainly didn’t want me telling the Halloween 3D story. It didn’t get me into trouble, they just didn’t like it. But there’s nothing they can do about it.

Jane Storm: It probably got you a lot of respect from people as well.
Mark Redford: I think from the fan base perhaps.

Jane Storm: The Bloody Disgusting guys were on to it.
Mark Redford: Yeah, but they always shoot it straight anyway and that’s why I like them. That’s why I like Brad and those guys. I don’t like rude behaviour, even from a studio.

Jane Storm: Yeah, I’m a big fan of Bloody Disgusting because they cover everything. They don’t just look at the big, commercial horror films, but they give time to the independent, small-budget and foreign language stuff that you wouldn’t know about otherwise.
Mark Redford: I trust those guys because if I know they like something I know that it’s worth my time. Everybody’s opinion is different, but I trust their judgment.

VIA Tom Andersen talks about horror, 3D & pissing Hollywood off

Sucker Punch (directed by Zack Snyder)

That Snyder, he sure is one stylish motherfucker. This image hit the net a few days ago via an Emily Browning fansite and is the first look at the bad-ass babes of Zack Snyder’s new film Sucker Punch. It’s scanned from a spread in Entertainment Weekly where they give an overview of the films appearing at Comic Con this week (insert jealous grumble here). Thoughts? If I wasn’t a straight woman, I would have a boner by now because frankly, it looks fetish-aboulous. It’s a shame Browning has had to revert from brown to blonde locks, but I’m willing to overlook that cliché in light of the general wickedness this film promises. So, in a similar vein to my overall wraps on Inception and Tomorrow, When The War Began, here is what we know about Zack Snyder’s Sucker Punch so far:

The Plot

Sucker Punch is a reimagining of Alice In Wonderland in the 1950s when a young girl, Baby Doll, is institutionalised by her wicked stepfather who intends to have her lobotomized in five days. She escapes to an alternative reality as a coping strategy, and in that universe she starts to plan her escape from the facility with her newfound inmate friends. Needing to steal five objects to achieve freedom, Snyder famously described the film to First Showing as “Alice In Wonderland with machine guns”. Apparently dragons, B-52 bombers and brothels also feature. Snyder came up with the story and wrote the script with Steve Shibuya, a former special-effects and tech whiz. It’s Snyder’s first original film without any source material from comics or previous films.

The Business End

Snyder, whose previous credits include the Dawn Of The Dead remake, 300, Watchmen and the up and coming animated owl flick Legend Of The Guardians: The Owls Of Ga’Hoole, is producing the film with his regular collaborator and wife, Deborah. Snyder has been an active filmmaker since 2004 and in that short time he has established himself as one of the few who can consistently deliver style and substance. He’s a visionary who pumps out films more often than the Octomum pumps out babies. It’s also good news that despite Warner Brothers announcing the film would be converted to 3D post-production, the Snyder husband and wife team have fought, and won, to keep their baby in 2D (the way it was filmed and intended). There will be no Clash Of The Titans-muddle here folks. Music is set to play an integral part in the film and mark the transition from reality to alternative-reality. The cast trained in 3 months to be able to perform the stunt and fight scenes before production kicked off in Vancouver from September, 2009 to January, 2010. Sucker Punch has a budget of $85 million.

The Cast

Emily Browning: Baby DollOne of my favourite Australian actresses, 21-year-old Browning stepped up to the role after Amanda Seyfried dropped out due to scheduling conflicts. Thank heavens for that, because as far as I’m concerned Seyfried has ruined herself with all the atrocious rom-com’s she has starred in of late. After a bunch of appearances in Australian TV productions and films such as Ned Kelly, Browning broke into the Hollywood market with her captivating performance in Lemony Snicket’s A Series of Unfortunate Events. Followed by her role in supernatural thriller The Uninvited, Browning will be one to watch after Sucker Punch and her role as Lucy, a university student who becomes a prostitute in Julia Leigh’s erotic version of Sleeping Beauty due for release next year.

Jena Malone: RocketReplacing Evan Rachel-Wood, who also dropped out over scheduling conflicts, is former child star Jena Malone. Having amassed an accomplished body of work, Malone is just another feather in the bow of accomplished young actresses at the fore of Sucker Punch.

Abbie Cornish: SweetpeaWhat can you say about Cornish? Except that she is ridiculously awesome and my favourite Australian actress behind Cate Blanchett! Since her breakout performances in Australian flicks Somersault and Candy, with Heath Ledger, Cornish has gone from strength to strength in mainstream Hollywood blowing me away with turns in Elizabeth: The Golden Age, Stop-Loss and, her Oscar-deserving role in Bright Star. Mainly a dramatic actress, I’m looking forward to seeing Cornish in an action-flick where her attitude and beauty are just as important as acting chops. She has worked with Snyder previously, voicing one of the central characters in Legend Of The Guardians: The Owls Of Ga’Hoole.

Vannessa Hudgens: BlondieOkay, so I’m not her biggest fan, but this is clearly Hudgens effort to make the transition from slutty Disney teen-starlet, to slutty Hollywood actress. But hey, if she shows some teeth in an action film I might be willing to overlook her previous efforts (hello there High School Musical and Bandslam). The jury is still out on her Twilighty-looking Beastly.

Jamie Chung: AmberChung has proved herself to be a sufficiently meaty action babe after Dragonball: Evolution, Sorority Row and her decency in Grown Ups. Toting a lollipop and fishnets in this though, she’s sure to bring that hot-Asian chick flavour a la Lucy Liu amongst a largely Caucasian cast in Charlie’s Angels.

Carla Gugino: Mrs ShulzThe lass with arguably the best natural rack in the industry (remember her topless scene as Lucille in Sin City?), Gugino plays a nurse in the asylum. Like Cornish, she has worked with Snyder previously, but as the original Silk Spectre in Watchmen.

Others Along for the ride are Scott Glenn, Oscar Isaac, Jan Hamm and Black Dynamite himself Michael Jai White (above)! Woo! Exclusive clips from the film are being screened at Comic Con this week, so as soon as some lucky bastard who’s attending posts them online... as will I. In the meantime, stay tuned for Sucker Punch news, updates and trailers.

P.S. By the time you read this I will be dead. Ha, just kidding, but my review of Inception will be posted above and therefore my online video review of Creation pales in significance. Alas, I’m posting it anyway - to watch click here. Connelly had really let herself go after her Oscar win. In semi-related news, my review of Inception is now the third most-read article on the Gold Coast Bulletin website AND it was only posted last night! Me thinks that gives plenty of juice to the `people regularly read and enjoy reviews’ argument.

VIA Snyder Delivers a Sucker Punch to Your Pants