Friday, December 7, 2012

Business Buzz 66: CBS Denver: Hundreds Honor Corrections Worker Killed At Prison

Business Buzz 66
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CBS Denver: Hundreds Honor Corrections Worker Killed At Prison
Dec 7th 2012, 18:56

CBS Denver
CBSDenver.com - News for Colorado and Denver from CBS4, plus Sports, Weather, Traffic and Top Spots
Hundreds Honor Corrections Worker Killed At Prison
Dec 7th 2012, 18:43

CANON CITY, Colo. (AP) – Hundreds of Colorado correctional officers are remembering a co-worker who lost her life while on duty.

Officials added the name of Sgt. Mary K. Ricard to The Fallen Officer Memorial at Territorial Correctional Facility with a ceremony in Canon City on Thursday.

Ricard was killed Sept. 24 in an assault that occurred while breakfast was being prepared at the Arkansas Valley Correctional Facility. Sgt. Lori Gann was seriously injured.

Miguel Alonso Contreras-Perez, who was serving 35 years to life for kidnapping and sexual assault, has been named a person of interest in the assault.

(© Copyright 2012 The Associated Press. All Rights Reserved. This material may not be published, broadcast, rewritten or redistributed.)

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Business Buzz 66: CBS Denver: Final Fern Lake Fire Evacuees Plan To Return Home

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CBS Denver: Final Fern Lake Fire Evacuees Plan To Return Home
Dec 7th 2012, 18:43

CBS Denver
CBSDenver.com - News for Colorado and Denver from CBS4, plus Sports, Weather, Traffic and Top Spots
Final Fern Lake Fire Evacuees Plan To Return Home
Dec 7th 2012, 18:40

ROCKY MOUNTAIN NATIONAL PARK, Colo. (CBS4) – All of the remaining evacuees of the Fern Lake Fire in Rocky Mountain National Park will be allowed back home on Friday.

The fire flared up last weekend in the midst of strong winds and unseasonably warm temperatures, forcing hundreds of people out of their homes.

One cabin burned in the blaze.

The fire has burned nearly 3,500 acres so far and was listed on Friday morning at 45 percent containment.

Wildfire Resources

- Visit CBSDenver.com’s Wildfire Resources section.

- Read recent Wildfire stories.

Wildfire Photo Galleries

- See images from the most destructive wildfires (Waldo Canyon, High Park and Fourmile) and largest wildfire (Hayman) in Colorado history.

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Business Buzz 66: Business Opportunities Weblog: Shale Gas: The Re-industrialization of the Midwest

Business Buzz 66
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Business Opportunities Weblog: Shale Gas: The Re-industrialization of the Midwest
Dec 7th 2012, 18:34

Business Opportunities Weblog
The original blog about business opportunities and business ideas for small business entrepreneurs
Shale Gas: The Re-industrialization of the Midwest
Dec 7th 2012, 18:20

Shell oil President bbc

I can’t embed the video, but if you’re interested in the long term economic situation in the United States, you need to watch this video of a BBC interview with Royal Dutch Shell’s chief executive Peter Voser.

In the video, he discusses the shale gas revolution in the U.S., which he predicts will bring manufacturing production and jobs back to the U.S. in industries like petrochemicals, plastics and steel, thanks to the cheap, abundant 100-year supply of natural gas in America. He calls this trend toward reshoring energy-intensive manufacturing back to the U.S. as the "re-industrialization of the Midwest in the U.S."

via Carpe Diem.

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Business Buzz 66: CBS Denver: Family Of 2 Boys Who Died After Being Left In Car Want ‘Justice’

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CBS Denver: Family Of 2 Boys Who Died After Being Left In Car Want 'Justice'
Dec 7th 2012, 18:32

CBS Denver
CBSDenver.com - News for Colorado and Denver from CBS4, plus Sports, Weather, Traffic and Top Spots
Family Of 2 Boys Who Died After Being Left In Car Want 'Justice'
Dec 7th 2012, 18:20

LITTLETON, Colo. (CBS4) – It was a sad, somber night in Littleton at Progress Park Thursday as a vigil took place to remember two boys who died after being left in an SUV on the Western Slope.

William Jensen, 2, died in the vehicle, which was parked on a rural road near Powderhorn resort on Nov. 27, and his brother Tyler, 4, died at Children’s Hospital earlier this week.

Their mother allegedly told investigators she left the boys in the SUV — which was running — for more than an hour while she met with a man.

Among those honoring the boys on Thursday night was Rodger Mathena, their uncle who lives in the area.

“They were very playful, normal, happy and always had a smile on their face,” Mathena told CBS4. “They loved to play with their toys, very well mannered little boys, they were very loved.”

Candles were lit by family members and friends, and the feeling Mathena expressed to CBS4 was shared by all who attended.

“Their time just came way too soon,” he said.

Autopsy results on how the boys died have not come back yet, and authorities are being very tight lipped about the case, which they have only said is a death investigation and is being worked on by a large number of personnel.

powderhorn map Family Of 2 Boys Who Died After Being Left In Car Want Justice

(credit: CBS)

Mathena is the brother of the boy’s father. He said the vigil was also held partly to honor the memory of that brother, Eric, who was in a car accident in October.

“My brother died the month before, then all of a sudden his two children died the next month. Something just didn’t feel right about it — just disbelief,” he said.

Mathena said family members are frustrated by how long it is taking the Mesa County Sheriff’s office to provide updates.

“We just want answers, and justice at this point. None of us really know very much. Police aren’t releasing much to us,” he said.

Heather Jensen posted photos of the boys on her Facebook page hours after making the 911 call, saying “I miss my boys.” She so far has not spoken publicly about what happened.

The Grand Junction Daily Sentinel reported that a Mesa County judge blocked plans for the cremation of the two boys this week. The boys’ grandmother, Diane Mathena, wants Tyler and William buried next to their father in Palisade, while the mother wants them cremated.

CBS4 Legal Analyst Karen Steinhauser earlier this week explained why it might be taking authorities a while to move forward in the case.

“The police and the district attorneys are going to wait until they have all of the facts — toxicology results from the autopsy, a full investigation of how these children died, who might have been the one who caused their death, and a determination as to who should be charged and what the appropriate charges are before they make that decision.”

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Business Buzz 66: CBS Denver: Your Holiday Hints

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CBS Denver: Your Holiday Hints
Dec 7th 2012, 18:20

CBS Denver
CBSDenver.com - News for Colorado and Denver from CBS4, plus Sports, Weather, Traffic and Top Spots
Your Holiday Hints
Dec 7th 2012, 18:16

Holiday-420x316Visit our new destination for holiday shoppers to buy and share this season's hottest gifts!

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Business Buzz 66: The Atlantic Wire: Bitcoin Is as Legit as Paypal Now, in at Least One Country

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The Atlantic Wire: Bitcoin Is as Legit as Paypal Now, in at Least One Country
Dec 7th 2012, 18:13

The Atlantic Wire
Latest entries
thumbnail Bitcoin Is as Legit as Paypal Now, in at Least One Country
Dec 7th 2012, 18:11

Bitcoin, the occasionally frightening virtual currency that doesn't believe in government regulation, just got itself some. One of its exchanges, Bitcoin-Central, has received approval from France's government to operate as a payment service provider there, PayPal-style. With that relationship comes some insurance protection that should help get people trusting Bitcoin again. Before now, when things like $250,000 heists went down, these exchanges didn't have any government back-up to pay back users' stolen funds. As a PSP, the money stored with Bitcoin-Central will get backed by the same European compensation laws as money held in normal banks.

That should make signing up a little less terrifying of an experience for people who don't want to watch their money be subject to hackings and fraud, a common but hard-to-track occurrence in the Bitcoin world. Often, these heists amount to no small sum. At this point one bitcoin is worth about $13 U.S. dollars. Or as one Bitcoin forum user put it:

In addition to protections from the French government, each customer now gets his own debit card and will be able to transfer funds between banks a possibility, making transferring virtual money into real dollars a lot easier. Everything just becomes more seamless. 

But with all that cushy government regulation, comes all that evil government regulation that is the antithesis of Bitcoin. David Francois, CTO of Paymium, who worked with Bitcoin Central on the deal, just barely acknowledges that little caveat in his announcement post. "Some people might argue that regulation is a bad thing. We respect this opinion, but we'll have to agree to disagree," he writes. So far, most Bitcoin forum users are excited about the move, despite this little issue. But some seeds of grumbling have already bugun. "This is really cool well done guys but..... I don't like that taxpayers bail out losses. why cant a private insurance company take on this risk?" asked Bitcoin Forum user jaminuit. If this gets more people to accept and use the currency, however, do the dissenters still matter? 

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Business Buzz 66: The Atlantic Wire: The Best (and Worst) Movies of 2012

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The Atlantic Wire: The Best (and Worst) Movies of 2012
Dec 7th 2012, 18:13

The Atlantic Wire
Latest entries
thumbnail The Best (and Worst) Movies of 2012
Dec 7th 2012, 17:54

That it was an uneven year at the movies — Prometheus, why must you disappoint us so? — does not mean it was without its definite bright spots. To that end, and in continuing The Atlantic Wire's Year in Review, we've chosen our ten favorite films of 2012. And a few that were not so much.

The Amazing Spider-Man

Yes, it shocked us, too: In a summer of better-than-average superhero fare, the comic-book movie we were dreading the most wound up becoming, well, the real hero. A scant few years since Sam Raimi hung up the Spidey suit, (500) Days of Summer director Marc Webb came along and snugly fit it on Andrew Garfield, sending Peter Parker back to high school, introducing him to his original pre-Mary Jane love Gwen Stacy (Emma Stone), and squaring him off against a mad, gene-mutating scientist. We've seen many versions of this origin story before, but Webb managed to infuse it with new and vibrant life. With the perfectly cast Garfield and Stone, who positively radiate with romantic chemistry, the story rises to dizzier and dizzier heights, while remarkably never losing its grounding as a tale about real people. While Joss Whedon's Avengers was certainly a raucous, kitchen-sink blast, and Christopher Nolan’s The Dark Knight Rises had all its effectively moody boom and portent, Webb's film was the only one that truly felt like the scrappy comic books where all this noise began. Who knows if the crew can keep it up in the 2014 sequel, but for deftly and humanely reinventing a story we'd just seen (in droves, no less), The Amazing Spider-Man deserves some serious recognition.

Amour

The most brutal and terrifying movie of the year didn't come in the form of some starlet wriggling around a murderer's house. No, it was two elderly people in a well appointed Paris apartment, one wasting away following a stroke, the other helplessly watching as his lifetime companion disappears. Michael Haneke's thoroughly shattering domestic drama (quite literally, we almost never leave the apartment) is called Amour not because it is full of the gauzy, swooning sentiment of love, but because it is about the difficulties and indignities, the everyday sacrifices and mistakes, of a truly lasting, devoted bond. Our guides through this spare but visually arresting look at the end of life are the veteran French actors Jean-Louis Trintignant and Emmanuelle Riva, and they give themselves wholly to the task. It's become a cliché to call an acting performance brave, but both of these actors, especially Riva as the one in physical free-fall, are more fierce and nobly committed in their 80s than any actor half a century their junior even tried to be this year. Though Haneke has, as Michael Haneke does, made an excruciatingly frank and hard-to-watch film, he's also made a film of towering care and compassion. In depicting the flickering-out of the twilight years without an ounce of pandering, he gives his characters the dignity they so ferociously fight to protect in the film. Amour is a painful experience for the duration, but, in the end, it proves soul-shakingly cathartic.

Argo

What a joy it's been to watch Ben Affleck, once the party prince half of the lovable Boston duo of Ben & Matt, as he's matured into a very serious (but not too serious!) filmmaker these past few years. And Argo, a swift, sleek retelling of a stranger-than-fiction rescue mission during the Iran hostage crisis, marked yet another big corner turned. Affleck knows just when to give a scene that extra shot of Hollywood boost and when to pull back, letting the story's innate suspense and moody geopolitical foreboding fill the space on their own. As sharp and dexterous as any "mainstream" film this year, Affleck has made one of those "they don't make movies like that anymore" movies — a mid-budget studio picture that's as smart as it is flat-out entertaining. Boasting a uniformly fine cast and credible, lived-in period details, Argo proved Affleck a director who both executives and substance-starved moviegoers can cheer for. Pretty impressive a mere nine years after Gigli.

Beasts of the Southern Wild

In his feature film debut, director Benh Zeitlin creates a magical other-Earth from the mud and brown water of the Louisiana coast and takes us on a sensory exploration of nothing less than the nature of existence — and the existence of nature. Using a cast of non-professional actors — chiefly Quvenzhané Wallis as young spirit-being Hushpuppy and Dwight Henry as her stern, near-mystic father — Zeitlin gives us a flood narrative that is full of rumble and redemption. Early on in the film a great storm swallows the isolated community the locals call The Bathtub, but we then watch as these brave but never saintly folks find life anew, pulling it right out of the water. With loud dashes of magical realism and a swooning score, Beasts of the Southern Wild feels like the birth of a new American myth, as if part of a story cycle whipped up into existence by these climate-changed times. It's also the thrilling debut of a staggeringly talented new filmmaker, one whose obvious care for his subjects and themes will hopefully guide him now that he's a big, famous art-house hero.

The Cabin in the Woods

Though the word “meta” often conjures up irksome, irony-steeped blog posts, or episodes of Community that are particularly pleased with themselves, Drew Goddard’s sprightly deconstruction/reconstruction of the horror movie offered the most delightful kind of self-commentary. To explain anything about this long-delayed film (it was shot in 2009) would be to spoil it, but know that it is seat-jumpingly scary when it needs to be, funny and spastic in that great Joss Whedon-y way (Goddard and Whedon co-wrote the script), and so wildly inventive with form and concept that it's essentially a genre unto itself. To be sure, The Cabin in the Woods isn't high art, but it remains, all these months later, one of our most giddy and eye-popping experiences at the movies this year. There can't be a sequel for reasons that will be made obvious once you see it, but boy do we hope we get more horror-comedy-whatever like this in the future.

How to Survive a Plague

In David France's stunning, galvanizing documentary about the beginnings of ACT UP and the AIDS awareness movement, we are given the marvelous gift of a mind-boggling wealth of archival footage from the 1980s and early 1990s. France lets these brash, mostly New York revolutionaries speak for themselves, and so through their voices and with their eyes we watch ACT UP and TAG rally together to fight for recognition of the disease ravaging their communities and, most crucially, pushing for available drug treatments for those already infected, who were dropping dead in numbers that seemed apocalyptic. As its urgent title may suggest, How to Survive a Plague is not a study of humble do-gooders, quietly and beatifically going about their toil. These are people, some still with us, many gone, who put the "loud" in "out, loud, and proud." Drawing from the well of Stonewall, they forced AIDS recognition from their government and, in a broader sense, helped build a powerful political voice for a social caste that had been without for too long. Watching this unfold — their successes and setbacks — is nothing short of thrilling. It's despairing, too, to know that so many in those crowded rooms were lost when they could have been saved. France has made a fine cultural document here, one with resonance far beyond the gay community.

Looper

Yes, OK, when held under close scrutiny the time travel logic and physics in Rian Johnson's bracing, beautifully realized sci-fi thriller/drama don't quite hold water, but you know what? When there's this much style and surprising substance, we're willing to overlook those bobbles. Johnson's first real big budget gives him the opportunity to create a bottomed-out near-feature, enriching his bleak Midwestern landscape with exact, telling details that offer a grim, but not apocalyptic, vision of where America might be headed. As a slowly-breaking-down hitman who wipes out gangsters sent back from the future, Joseph Gordon-Levitt gives another intelligent, deeply felt performance (even more impressive when you consider the unfortunate makeup under which he has to act), and he's joined by a sterling supporting cast, including Bruce Willis (who plays the older version of the same character), Emily Blunt, a scary Jeff Daniels, and the beguiling Noah Segen. That Johnson's film is a wonder to behold — blunt, crunching violence giving way to beautiful vistas — is no shock, but that he gives his film a poignancy and a sweetness is an unexpected but welcome dimension. Again, not exactly everything in Looper quite adds up, but the film more than makes up for that by being the most inventive and heart-grabbing thrill of the year.

Moonrise Kingdom

At first glance, writer/director Wes Anderson’s first live-action film since 2007's The Darjeeling Limited is a slight tale, one about a boy and a girl and the brief adventure they have on a little New England island. But whispering beneath the surface is a considerably deeper pool of introspection. With Moonrise Kingdom Anderson has made a loving tribute to the messy details of childhood — and to both the grandeur and tedium of coming-of-age — while also exploring a particularly adult kind of emotional displacement. That he set his story on this rocky, melancholy island — which is brilliantly, meticulously realized down to every invented book cover — was of course no accident: his New Penzance is an ideal place to explore themes of loneliness, both the beauty and pain of it, the kind of cozy ache that, in some ways, New England creates best. Full of homey, idiosyncratic performances — a particular standout being Bruce Willis, playing the unlikely hero of the film — and led by two deadpan kids who manage to never annoy, Moonrise Kingdom is the most oddly tailored, and yet resonantly successful, family film of the year.

Your Sister's Sister

Lynn Shelton's wry, observant, poignant little film briefly flitted through theaters in loud, crowded June and was quickly gone. And yet it's been impossible to shake, for being so sharp and truthful and evenhanded about the way people can be. In the film, Mark Duplass (toning down his The League-style smarm) is a lost soul grieving for his brother who goes to sort things out at the family lake house of two sisters, played by Emily Blunt and Rosemarie DeWitt. Through one key misunderstanding, the three end up at the house together, talking and sharing and feeling and all that perhaps hoary indie stuff. But in Shelton's hands, these three fine actors, the irresistible DeWitt and Blunt especially, create something wholly effortless and organic. Their talk is funny and pointed and wistful in the way lots of bleary, wine-heavy conversations are for real-life people who've tipped over the 30-year mark. The plot involves something of a love triangle, but really we are here to simply listen to these people ramble on; they're so good at it that you leave the film wanting to be their friend, wanting to talk to your friends, and, most of all, wanting to see more movies in this low-to-the-ground, naturalistic vein. Some may call it an evolution of Mumblecore, but to me it's a renewal of the promise made by the independent film movement over twenty years ago. Smart and small, Your Sister's Sister managed to speak a lot louder than many much bigger movies this year.

Zero Dark Thirty

Kathryn Bigelow's big, long, thorough detailing of the hunt for Osama bin Laden works beautifully on two levels. As a shadowy geopolitical procedural it satisfies our craving for deft investigation, exotic locales, and backroom strategizing. It's also utterly engaging as a somber meditation on the efficacy and meaning of all this cloak-and-dagger (too often dagger) business, done in the face of a vast and sometimes only loosely connected web of people the United States has declared enemies. Never morally indicating or urging us toward a specific position, Bigelow and the writer Mark Boal give Zero Dark Thirty the feel of a particularly sexy and exciting Frontline, while also fulfilling our need for entertainment, without doing too much sensationalizing. Watching them walk that line is the movie's chief pleasure, aided as they are by a strong cast, including Jennifer Ehle, Jason Clarke, and Kyle Chandler. (Only the lead, Jessica Chastain, doesn't quite connect with her role; but she's still undeniably interesting to watch.) We may never know exactly how accurate Zero Dark Thirty is, but because it eschews editorializing in favor of up-close soberness, its status as "just a movie" is more easily overlooked. Something akin to this happened, and this is what it may have looked like, and we the audience are, blessedly, trusted to be smart enough to interpret it all ourselves. That's a bit of respect rarely paid by political films, and it's more than appreciated.

And the worst...

There were many awful or at least forgettable films this year. Rock of Ages lurched awkwardly around in ugly fashion, never quite sure whether it should try to be cool or silly. Mirror Mirror created a fairy tale that would bore kids and gross out adults. (Thank god no one saw it.) Wrath of the Titans made no earthly, or heavenly, sense, wasting and perhaps embarrassing a cast of excellent actors. Tim Burton and Johnny Depp continued on their quest to butcher the classics with Dark Shadows, a screamingly unfunny movie that played like a bad amateur comedy sketch. But truly no film irked or put us off more this year than Whit Stillman's Damsels in Distress, an utterly tone-deaf and tiresomely pretentious little turd that said nothing relevant about anything, past or present, while offering perhaps the year's most stunningly unappealing performance in Greta Gerwig's pinched coed miss manners. A film as pointless at it was tedious, Damels in Distress felt like an act of aggression.

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