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Jian Ghomeshi Gets a Court Date, But Two Charges Dropped

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Jian Ghomeshi at an event before he was fired and charged. Photo via Flickr user Damien D

Sexual assault allegations by four different women against former CBC Radio host Jian Ghomeshi are finally going to court.

Tuesday morning, Justice Rebecca Rutherford set court dates for two separate trials that will both be heard by a judge rather than a jury. Allegations by three women will have their day in court next February while a fourth woman's allegations will go to court more than a year from now, in June 2016.

The former CBC host is charged with five counts of sexual assault and one count of overcoming resistance by choking. The charges stem from explosive reports in the Toronto Star in the fall of 2014 in which more than 15 women came forward to say Ghomeshi had violently abused and harassed them over the years, including during his time as the then-popular host at CBC Radio's Q.

But Tuesday morning, the Crown dropped two of eight charges against the former host, saying they had no reasonable prospect of conviction. Crown prosecutor Michael Callaghan said Tuesday in court, "We wish to be abundantly clear this determination is not a reflection of the truthfulness or credibility of any witnesses but rather a determination that specific allegations would not meet the legal burden of proof."

Since the two dropped sexual assault charges were alleged by two separate women, it means only four women instead of an original group of six who spoke to police will have their stories heard in court.

The Star reported today that the two dropped charges related to alleged sexual assaults in August 2002 and May 2003.

Ghomeshi has maintained his innocence, saying in an infamous Facebook post that he enjoys BDSM and "rough sex" and the encounters were consensual.

In the October Facebook post, which bizarrely triggered the publication of the women's allegations, Ghomeshi accused the CBC of firing him "because of the risk of my private sex life being made public as a result of a campaign of false allegations pursued by a jilted ex-girlfriend and a freelance writer."

In a memo last October, the CBC told employees Ghomeshi was fired after executives saw evidence he injured a woman.

"I have always been interested in a variety of activities in the bedroom but I only participate in sexual practices that are mutually agreed upon, consensual, and exciting for both partners," the post on Ghomeshi's Facebook page read.

But his accusers told the Star that Ghomeshi did not obtain their consent before he hit, choked, and sexually abused them.

Ghomeshi is currently out on $100,000 bail.

Follow Hilary Beaumont on Twitter.


VICE Vs Video Games: The VICE Gaming Verdict on ‘The Witcher 3: Wild Hunt’

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This article originally appeared on VICE UK.

I'll save you the effort of processing this entire piece by summing up Polish studio CD Projekt RED's new fantasy epic—and with a reported 200 hours' worth of gameplay available, The Witcher 3: Wild Hunt certainly earns that "e" word—with two easy comparisons. It's Red Dead Redemption with ghouls and ghosts instead of gunslingers, or Grand Theft Auto V reskinned as Game of Thrones. Sounds cool, doesn't it? And it really is.

This is a game to get completely lost in for days on end, to poke at the extremities of until it tells you to turn back because you've reached the edge of the world, which takes a while. It's intoxicating in its depth, dizzying in its seemingly limitless number of side quests and monster contracts and scavenger hunts and horse races and card games and NPCs to piss off. Its towering mountains scrape the heavens, just as its seas reach depths that few comparable titles can (be sure to take a deep breath). It rewards curiosity with treasure just as readily as it meets bold exploration with a beast several levels more lethal than you are. It is, probably, a Skyrim beater, which is all you came here to know, right? See you later, then.

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Ciri is Geralt's "daughter" of sorts, and you'll get to play as her for brief sections of the game.

Assuming you've made it below the fold, let's look at what The Witcher 3 actually is. This is an action role-playing game, more Zelda than old-school Final Fantasy, viewed from a third-person perspective, where the (main) playable hero protagonist, Geralt of Rivia, must overcome enemies and politics (uh oh, someone's keep-politics-out-of-gaming klaxon just began wailing like a banshee) using sharp and pointy things, an array of magical gadgets, a pocketful of explosives, and just a dash of persuasive discourse.

Geralt is a witcher, a professional monster slayer for hire, whose scarred body is full of mutagens that allow him to take a right old beating before keeling over (and yet, falling from just too high will kill him, instantly). The story of The Witcher 3 takes him on a quest to find the girl he treats as his daughter, Ciri, who the player also gets to control in flashback sequences. Ciri is in danger, with the Wild Hunt out for her blood (literally), so Geralt must catch up with her before the mist-shrouded mythical huntsmen do. The three of the title is there with good reason: this is the follow-up to 2011's The Witcher 2: Assassins of Kings, which was the sequel to the first game of 2007. Is that enough saying-what-it-does-on-the-tin, yet? I'm beginning to feel flushed.

The Witcher series has long had a reputation for showcasing video gaming's awkwardness when it comes to sex, and the series' third game proper isn't shy in lining up partners for its protagonist, assuming you want him to plough the field (in joke!) when he's not chasing down prey. Geralt wears saggy granny pants under his otherwise completely customizable armor yet is somehow a total lady-killer, and will find himself in plenty of amorous situations if the player decides to follow those avenues of, ahem, investigation. Most of the breasts you'll see are entirely plastic, shiny, and unmoving, which is impressive given the medieval surroundings. But the sex scenes here aren't completely embarrassing—you'll have seen much worse, even outside of video games, and the first humping I witness is actually between a pair of snow hares. The filthy animals.

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Monsters don't just stalk the land—you'll have to face off against airborne foes, like these harpies.

What's more impressive is how The Witcher 3 handles love, rather than lust: with a sensitivity and subtlety that anyone who's been in a long-term relationship will recognize and relate to. After no few hours of horsing around the expansive land of Velen—swamps and marshes, broken-down castles and dilapidated villages, mostly (fast-travel points unlock as you explore each map)—the game's story takes a turn for the ocean, placing Geralt on the Skellige Islands, an archipelago of snow-capped peaks, and sirens-swarming seas. It's a notable change of pace for an hour or so, from action to intimacy, and it's here where he reconnects with Yennefer of Vengerberg, a sorceress who's been the witcher's primary love interest in previous stories, stretching through games and back to the original novels and short stories.

The pair's body language expertly conveys their guarded feelings in the company of those they're not entirely familiar with, and their own suspicions as to what the other—a brief reunion earlier in this game aside, they'd not been together for a long time—may have been up to. (Well, did you go all the way with Keira Metz just a few in-game days earlier?) The acting during their exchanges is brilliantly measured, and while Yen might be cursed with the same artificial features as so many other ladies of The Witcher, not to mention seething with magical power, she's probably the most human character of any you'll meet on this adventure.

It goes without saying that the human inhabitants of The Witcher 3's rolling landscapes are the most monstrous beings that will cross your path, even discounting the bandits and pirates you'll be forced to put to the sword. There are (Irish-accented) werewolves in this game that you'll feel more compassion for than you will Emhyr var Emreis, the Charles Dance-voiced emperor of (the southern region of) Nilfgaard. Dance's instructions must have been to "do Tywin," as if you close your eyes during his exchanges with Geralt you'd swear there was a Lannister in the room.

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Some of the landscapes you'll be seeing, from top to bottom: the Witcher stronghold of Kaer Morhen, the outskirts of Novigrad, and the mountainous islands of Skellige

A more common sight during your first ten or so hours in the saddle will be the Bloody Baron, a hulking man of bristling beard and furious temper, who is as odious as they come: "I slaughtered the shit-eating twat and fed his carcass to the dogs," is his recollection of a previous situation where someone got on his wrong side. But it might be that you see a more vulnerable side of him as his own story unfolds. It might also be that his quests introduce you to one of this game's most grotesque yet pitiful creatures. It just might.

When it comes to the non-human adversaries you'll face, there are the frequently encountered sorts—wolves, drowners, and wraiths—that represent mere fodder for your twin blades (all witchers carry both a steel and silver sword, for humans and monsters respectively), and a handful of much larger, more challenging foes. A tank-sized fiend can (and will) rip through your defenses with ease, so you have to stay mobile, while every monster contract you accept will climax with a battle against a very special enemy, be it a foglet that's lived so long as to become a true horror of nature, or the malevolent spirit of a woman driven from her home, now haunting a village well her skeleton still hangs in.

Melee combat in The Witcher 3 can be messy when several bodies crowd the screen, limbs a blur, with even locked-on blows lacking the precision that a tenser standoff against just a handful of enemies engenders. During one lengthy battle alongside the Playboy–featured (entirely NSFW link) sorceress Triss Merigold against a band of Witch Hunters, the frame rate (on PlayStation 4, at least) absolutely plummets, making Arkham Origins' slow-motion fisticuffs look like liquid mercury. Hopefully that's something that will be fixed come the game's retail release—and it hardly ever happened elsewhere, for me.

Related: The Mystical Universe of 'Magic: The Gathering'

But while they're not as exacting as what we've so recently seen in the close-quarters confrontations of Bloodborne, fights can still be matters of life and death here. Higher-level enemies will deplete Geralt's health with frightening efficiency, and several require special measures to take down effectively, be that the use of a particular sign (the game's magical powers) or the application of damage-maxing oil to his blades. Alchemy is an essential part of gameplay: harvest ingredients when you can, from flora and fauna, and combine them to create useful concoctions, ready to provide a vital perk to weapons and witcher alike when the time comes. You'll also be using your heightened senses to look for clues at crime scenes, and track friends and foes alike—a squeeze of the left trigger activates this game's version of the Arkham series' Detective Mode.

While brewing potions and spying highlighted objects of interaction will come quite easily to any Witcher beginner, what might be a lot tougher to get to grips with is the fiction supporting Geralt's quest. Characters from previous games crop up frequently during the course of this story, from the marketing-campaign-friendly Triss and Yen, to the second game's primary antagonist Letho of Gulet, and the Termerian Blue Stripes commander Vernon Roche. Some have bigger parts to play than others—in the game's largest settlement, Novigrad, you'll be spending ample time with Sigismund Dijkstra, plotting against other members of the city's underworld (one of whom, the King of Beggars, looks like Vinnie Jones coming out the wrong end of a Pukka Pies addiction). If you can do a favor for any of these returning faces, it's worth it, as they will pay you back later. Trust me, you'll want to have them on your side as the Wild Hunt closes in.

The scale of the backstory can be daunting at times, but there's an in-game glossary that keeps track of all non-player characters and their own connections with Geralt—both now, and before. These documents and the game's narration comes from the perspective of Geralt's dear friend, the poet-bard Dandelion, who you soon discover has got himself into a pretty dire situation involving a less-than-amiable chap called Whoreson Junior. Truthfully, without paying attention to the reams of text available, or dipping into one of several online wikis, coming to The Witcher 3 with no previous knowledge of Geralt's exploits will feel much like hopping aboard the Game of Thrones hype in the middle of season four—you'll be rudderless, slashing at quarries simply because a marker on a map took you there, with no real context. Do make the effort to read up on events prior to the affairs of this game, at least a little, as it'll result in a significantly richer experience.

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Novigrad is the game's biggest city, containing a massive amount of secondary quests and activities.

Rich, too, are the visuals when everything aligns—the perfect lighting spreads over the ideal setting, and the PS4's Share button gets its moment to shine. There are slight shortcomings, as you'd expect to find with any game of such environmental ambition—certain textures aren't as crisp as they might be (I actually find a tiny stretch of path, in the northeast of the Velen map, that's a blur of green with no detail whatsoever, like something from an N64 game), and there are moments of exaggerated pop-up and comedy clipping that just for a second snap you out of the engrossing unreality. But, truly, this is a beautiful looking game, with dynamic weather and set pieces of striking composition that will live long in the memory. One in particular will always stay with me. Without giving much away: a ship, a djinn, a mountain, gorgeous. The music's pretty enough, but sometimes its slightly portentous sweeps can feel disconnected to jovial scenes playing out beneath them, and thus overpowering, such as when a pair of sisters bicker, playfully, about who does or doesn't fancy Dandelion.

For long stretches, The Witcher 3 does little to warrant its PEGI-18 content rating. There's lots of riding, lots of Telltale-like talking, a great many sequences where neither swords nor voices are raised. Fights against small groups of bandits can be brutally short, especially once Geralt has leveled up and hunted down some superior weaponry (or had it made for him), flashes of blood and viscera just that, and over in a heartbeat. But when you least expect it, a sight that could turn even a full stomach presents itself.

Upon first entering Novigrad, there's a burning going on in the city's central square, and it's not books that are cooking. Much later, a reverend of the Eternal Fire religion is discovered spending his paid-for time with a prostitute in ways that'd make GTA V's Trevor Philips uneasy. The pursuit of a serial killer leads to bodies opened up in sickening ways, and as for the aforementioned Whoreson Junior and his appreciation of women... let's just say that if you let him off the hook when the time comes, yours is a more forgiving soul than mine.

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'The Witcher 3: Wild Hunt' gameplay trailer.

The game's maturity is evident in its handling of racial and religious discrimination, and more—an early exchange with a gay hunter, isolated by his kinsman because of his sexuality is, for a video game, very delicately written. It's a shame, though, that the "strumpets" of Novigrad are exclusively flesh-flashing women, and that the developers haven't done slightly more to shift the male gaze typical of triple-A games. There are strong female characters on show, in Yen and Triss and Ciri, but outside of Geralt's circle of friends most NPCs in skirts are simply there to scrub floors, wash laundry or spread their legs for their fellow townsfolk.

While you can tackle secondary quests and take on contracts to boost Geralt's stats, making the game's later stages that bit easier, when the game switches to Ciri's path—the one our core protagonist is trying his best to follow—you have to make do with what you're given. Thankfully, Ciri is a more than capable warrior herself, quicker than Geralt and possessing the ability to teleport behind an assailant's back for a swift deathblow. She can't take as much of a bruising as her honorary father, though, so when it's a toss up between taking on a dozen soldiers armed with crossbows as well as axes and the like, or legging it to the next checkpoint, choose wisely.

Gameplay with Ciri is wholly linear, your path forwards clearly marked—but when Geralt isn't "on mission" he's free to wander far and wide. Which you should take advantage of, as there's so much to find by just pointing your horse, Roach, at one corner of a map and cantering into the unknown. There are caves full of loot, guarded by nightmares; abandoned towns which, when cleared of their current, antisocial occupants, will become populated by grateful villagers, whose services you can subsequently take advantage of. Soon enough, the main maps become littered with discovered locations and mysterious markers alike—one assumes that once the central plot has been seen to its climax, you can tick off anything you didn't crack prior to the credits rolling. (And I can only assume, as I'm still playing through the story—although it definitely feels like it's hitting its final beats.)

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Exploring dense forests can result in encounters with strange and fierce foes.

Of course, you will run out of things to do here, eventually. But there's free downloadable content on the way, as well as paid expansions offering a further 30 hours of gameplay. Add it all together and you're looking at ten days solid of adventure, assuming anyone could stay awake for so long. That is incredible value for the money, isn't it? It'd count for nothing if The Witcher 3 didn't constantly call the player back to its verdant fields and swampy wastes, but based on my experience with the game, that's another of its successes. As I write this, I'm fighting the urge to shut the laptop and get back to killing harpies and water hags. And, I'm losing.

So, to conclude, albeit based on "in-progress" impressions: this is the Red Dead Redemption sequel we've yet to be given, albeit with a few dragons and that flying about the place and a wonderfully nuanced love story at its center (though you might, fairly, say that RDD featured the same). It's an exemplary example of a modern open-world video game, with a high fantasy aesthetic that's consistently engaging and only the smallest quirks to compromise proceedings: control of your horse, and when you're swimming underwater, can be fiddly, and the loading time after you've died—be that by the flames of a fire elemental or just by accidentally falling off a broken bridge on the way to find a black pearl—is fairly long.

Still, that just tells you to get better, so do excuse me: I'm off to introduce a treasure-guarding cyclops, who previously crushed me to death, to my new and improved arsenal. He'd better have more than some bloody dwarven spirit in that chest of his. (Turns out, he did. Thanks, dead cyclops.)

The Witcher 3: Wild Hunt is released on May 19 for PlayStation 4, PC, and Xbox One. The game was (well, is being) tested using PS4 code, provided by the publisher.

Follow Mike on Twitter.

The Wisconsin Cop Who Shot an Unarmed Biracial Man in March Won't Be Charged

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Video via Fox11

On Tuesday in Madison, Wisconsin, Dane County District Attorney Ismael Ozanne announced that Officer Matt Kenny will not face criminal charges for shooting and killing an unarmed biracial man named Tony Robinson on March 6. At a news conference, Ozanne, who is the first black district attorney in Wisconsin history, said that Robinson's death "was the result of a lawful use of deadly police force." The shooting led to nonviolent protests in Madison.

On the evening of March 6, Robinson was seen acting erratically in public, according to three people who called 9-1-1. Their accounts suggested he accosted one stranger, and even tried to strangle another inside an apartment. Officer Matt Kenny arrived, later claiming that there was a physical confrontation in the apartment stairway, at which point Kenny fired seven shots. Robinson, who was 19, was taken to the hospital, where he died from his injuries.

According to the coroner's report, Robinson had recently been on mushrooms, marijuana, and Xanax. According to one of the people who called 9-1-1—an acquaintance who referred to Robinson as "Tony"—the 19-year-old was "tweaking" before he was shot.

This was just one in a recent explosion of controversies over the killing of unarmed black men by police officers. And Robinson's death came just five days after the March 1 killing of a homeless black man nicknamed "Africa" on LA's skid row. In Madison, the site of the killing was only about a mile from Wisconsin's state capitol building, leading to a large demonstration around the building's rotunda.

Shortly after the shooting, it emerged that Officer Kenny had previously been involved in the shooting of a man who was pointing a pellet gun at him. The incident was ruled "suicide by cop," and Kenny was given a medal.

Along with the report of Kenny's prior shooting, Madison police also released released a stack of documents on Kenny and Robinson. During his life, Robinson had multiple run-ins with the police, and in one of them, an officer kicked him in the chest.

"I'm not surprised. I could tell what the verdict was with all the evidence he was releasing," a local activist named Corinda Rainey-Moore told the Milwaukee Journal Sentinel. "Unfortunately I think it is going to send the message that young African-American men are invisible, that they don't matter, that they can be shot seven times and it won't matter."

Follow Mike Pearl on Twitter.

The Baffling, Gruesome Plague That Is Causing Sea Stars to Tear Themselves to Pieces

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Allison Gong is a marine biologist, so she knows perfectly well that a sea star has no blood, brain, or central nervous system. Still, she can't help thinking of the stars in her lab as pets. "Because of my weird personality," she told me, "I form an emotional attachment, even though obviously they can't reciprocate."

This attachment has deepened during the 20 years that she has worked in the Long Marine Laboratory at the University of California, Santa Cruz, where she exhibits the stars to undergraduates in her marine-biology classes. (One of her first lessons: The term "starfish" is a misnomer, because stars are not fish.) Until recently, Gong had 15 stars in her care: eight bat stars, five ochres, one leather, and a rainbow. She had developed a daily routine. Nearly every morning she entered her lab at 8:30 AM and saluted her menagerie with a cheerful "Hey, guys!" She checked "to make sure everybody's fine": If a star was climbing off the table, for instance, she'd prod it back into the water, with a gentle reprimand: "Guys! You know you need to get back in there." She recorded the temperature of the water, which is piped in from the shallows of Terrace Point, the reef on which the Long Marine Lab is situated; from the lab's windows it is common to see cresting dolphins, back-paddling sea lions, and breaching humpback whales in the surf below. Finally, Gong fed the stars frozen squid or lake smelt that she carefully diced into small, digestible bites. None of the stars, which typically live about 35 years in the wild and can survive more than three times as long in captivity, had ever died. At least not of natural causes. Some years ago Gong accidentally dropped a tank on a star, crushing it. "I thought it would recover, but it didn't. I felt bad about that."

Gong was therefore unprepared for the discovery she made during Labor Day weekend in 2013. No sooner had she greeted her charges ("Hey, guys!") than she realized that "somebody had died." The bat stars, aggressive scavengers, had glommed together in a single ball—an ominous sign. Gong peeled them off, one by one, until she found what they had been consuming: the corpse of an ochre sea star, their tablemate for the past five years.

Two days later she noticed that some of the other stars in the water table did not look well. "Their behavior was a little off," she said, putting it mildly. Some of their arms were twisted around their stomachs, as if the animals were trying to hug themselves. Healthy stars, especially ochres, have a rough texture and a firm consistency. But these looked "kind of mushy," like deflating party balloons. "It got to the point where I was afraid to open the door," she said. The next day a disturbed lab assistant reported that one of the stars had lost an arm. When Gong returned the day after that, the table looked "like an asteroid battlefield." The stars were squishy and pockmarked with pullulating white lesions. Sometimes their guts spilled out of the lesions. More arms had detached. The arms continued to crawl, disembodied, around the tank.

It is not uncommon for many species of sea stars to shed their arms in times of stress. When a curious child picks up a star out of a tide pool by one of its limbs, for instance, the star may jettison that arm in an effort to escape and regenerate it later. But Gong quickly understood that this was different. Her stars weren't merely shedding their arms. They were tearing them off. They were tearing them off the way a man, lacking access to a sharp tool, might tear off one of his own arms: by using one arm to wrench the other out of its socket. "They twisted their arms together," Gong said, "and they'd pull and pull and pull, until one of them came off. Then the arm walks away because it doesn't know that it's dead. It was horrific. They weren't just dying. They were tearing themselves to pieces."

It seemed at first that the sickness affected only the ochre stars. But soon the rainbow star began showing symptoms. Gong arrived one morning to find it ripping off one of its five arms. She left the lab to feed other animals, and by the time she returned, 40 minutes later, it had ripped off two more. The leather star and the last of the ochres liquefied a few days later. The bat stars did not, however, appear to be affected—at least not negatively. For them, the mass death of their tablemates was a bonanza. They gorged on the corpses.

Today they are the only stars remaining in the lab. "It's the stuff of nightmares," Gong said. "I had never seen anything like that. I'd seen animals die, but it's just a one-off. Something dies, and you get on with your life. But there was no getting on."

Anxious to figure out what was going on, she inquired next door at UCSC's aquarium, the Seymour Marine Discovery Center, which also draws its water from Terrace Point. The aquarists told her that they had noticed mysterious signs of disease in their own collection, which included a pair of sunflower stars, one of the largest star species in the world. A sunflower star can have as many as 24 limbs, each extending the length of a meter. Before long, the two sunflowers were losing their arms too. "They're so big that when they start pulling off their arms, it's bad," Gong said. "It's really bad. It looks like they've been butchered." The aquarists removed the sunflowers from public display so that children visiting the museum wouldn't scream.


Allison Gong with two healthy bat stars. The star on the right sustained an injury in one of its arms, and each new tip healed separately, resulting in a bifurcated limb.

In the neighboring building, Peter Raimondi, the chair of UCSC's Ecology and Evolutionary Biology Department, had begun to suspect that whatever was killing the sea stars was not confined to Terrace Point.

Raimondi had recently found himself undergoing an unexpected and not entirely desirable career shift: He had been thrust into the role of sea star detective. Though he is a marine biologist who divides his time between analyzing data and conducting research trips along the Pacific Coast, Raimondi is not entirely ill suited to the part. There is a private-investigator quality to his round, inquiring face, active eyes, and urgent, impatient voice. He wore sandals and cargo shorts when I met him in March, but in a fedora and distressed suit he'd bear more than a passing resemblance to Jake Gittes.

Raimondi's conversion is not as unusual as it might seem. Scientists are increasingly being made into investigators, as the world they study has come to resemble a crime scene. We are witnessing the greatest loss of life in planetary history, what scientists have dubbed the Sixth Extinction. Unlike the previous five extinctions, this one is caused not by vast natural processes but by human behavior. The current rate of extinction across all species is approximately a thousand times faster than the historical average. The reasons are various but most prominently include the warming of the atmosphere and the scrambling of ecosystems caused by human activities, which enable the infiltration of invasive species, the spread of disease, and the dwindling of natural habitats. Most of the species we lose expire without our noticing. For every Martha—the last surviving passenger pigeon, which died in a cage at the Cincinnati Zoo in 1914—there are thousands of other species that vanish anonymously, far from human view, their extinction only noted by human beings belatedly, species like the Liverpool pigeon, the Alaotra grebe, the Mexican grizzly bear, the Texas wolf, and many others that we did not even identify until they were gone for good. But those who devote their lives to examining the natural world notice this loss. Nobody knows their beats better than they do. They are the first to the scene and are the most highly equipped to understand the threats that face the animals they study. In the cases of many species, they are the only ones who care.

Raimondi, for instance, may know more than anyone alive about the condition of sea stars along the Pacific Coast.

For the past decade he has served as the principal investigator at MARINe, the Multi-Agency Rocky Intertidal Network, an ambitious effort to monitor coastal marine life. Every year, a team of researchers visits close to 200 sites between Graves Harbor, on the Alaskan panhandle, and Punta Abreojos, in Baja, Mexico. They take censuses and record observations about more than a thousand species, including at least 15 sea stars. The database is online and open to the public. The idea is to document the population sizes and environmental conditions along the coast, so that if something unusual happens, it can easily be measured. No such comprehensive, systematic monitoring system existed in the United States before MARINe, and to this day there is only one similar system, in the Great Barrier Reef. In most of the world we don't really know, with any accuracy, which marine species live where. The oceans remain a wilderness. We understand that we are changing its composition in dramatic ways, but we do not know exactly how.

In spring 2013, Raimondi began receiving reports of high levels of sea star wasting syndrome. Wasting is a generic term that describes symptoms of physical deterioration, which in the case of sea stars can include splotchiness, sores, deflation, and the jettisoning of limbs. Any number of insults, both environmental and pathogenic, can lead to wasting. It is not uncommon for a diver or tide-pooler to observe an individual sea star with symptoms. It's the echinodermatous equivalent of coming down with a very bad flu. About 1 percent of stars will exhibit wasting symptoms at any given time. But when a high percentage of animals succumb, it means something is wrong. It is the difference between a bad case of the flu and an epidemic.

This is what Raimondi began to observe himself in late March of that year. First, a marine-water-quality specialist at the University of Washington reported that every sunflower sea star observed on the coast of Vashon Island showed signs of wasting. In late April, a research technician at Oregon State noticed wasting symptoms in the ochre stars at the Tokatee Klootchman natural site in Carl G. Washburne Memorial State Park. In late June, researchers observed wasting ochre stars at Sokol Point, on Washington's Olympic Peninsula. In August, Raimondi himself found wasting ochres while on a research trip to Kayak Island, a remote island in the Gulf of Alaska 60 miles from the nearest town. He realized then that something strange was going on.

Throughout the fall the sightings increased in number and virulence. The Seattle Aquarium's veterinarian, horrified by the sight of the sick stars, quarantined them and doused them with antibiotics; when that failed, she began to euthanize every star that showed signs of the sickness. The geographic range of the events was startling. Mottled stars died at the Anchorage Museum in Anchorage, Alaska, and Pacific blood stars died at Point Loma in San Diego. The sea star population of Terrace Point, in Long Marine Laboratory's backyard, crashed almost entirely. Nor was the epidemic limited to the tidal zone; divers saw wasting stars in subtidal reefs, and crabbers even found wasting stars in pots pulled up from depths of 300 feet. "One or two percent—that's not a big deal," Raimondi told me. "But when you start seeing twenty to thirty percent or higher—in some cases it was all of them—then you know that something much different is occurring."

Nobody knew exactly what to call it. Was it a die-off? A plague? A population crash? An extinction event? Scientists began referring to it as "the Wasting."


Peter Raimondi, an ecology professor at the University of California, Santa Cruz

Gong may have never witnessed anything like it, but Raimondi had. In 1982, while a graduate student at UC Santa Barbara, Raimondi observed firsthand the effects of the strongest El Niño episode of the 20th century. Temperatures in the Pacific Ocean spiked by as much as ten degrees Fahrenheit. Sea stars, among other affected marine creatures, died off in massive numbers from wasting syndrome. This occurred again after the 1997–98 El Niño, with one study putting wasting rates among sea stars as high as 56 percent at certain locations. Warm water seemed to be the common variable; various localized wasting events had occurred in Southern California during warmer-than-average years. Temperature rise is also believed to have contributed to other recent marine die-offs: the sudden collapse of the Long Island Sound lobster fishery in 1999, the mass bleaching of coral reefs in the Caribbean in 2010, the death of thousands of pelicans in the beaches of northern Peru in 2012, the recent mass starvation of sea lions in Southern California, and the discovery of as many as 100,000 Cassin's auklet corpses this winter along the Pacific Northwest coast. But by the summer of 2014, Raimondi could be certain that the Wasting was the most widespread marine mortality event he had ever seen.

Yet this time, warmer water didn't appear to be responsible. It is true that, after a 12-year-period of relatively low temperatures, the water off the Pacific Coast has become significantly warmer in the past several months. But the Wasting began nearly a year before this recent warmer phase, with the first observations coming in the Pacific Northwest, as far north as Alaska, where the water is especially cold. "If we were seeing it in Alaska," Raimondi told me, "then we figured it was unlike anything we'd seen in the past."

It also was happening more quickly than he had ever witnessed. "That's the part that surprised me the most," he told me. "It was so sudden and so complete, and in so many different species." Never before had he seen disembodied arms walking around. Or sunflowers "exploding." Nor had he ever seen a ghost star. Wasting tends to be a gradual process, as the star deteriorates over the course of days or weeks. But the Wasting can attack with such sudden ferocity that some of the stars rot in place. Their soft tissue dissolves and decomposes, devoured by fuzzy white bacteria, but the star's hard white spicules—their spines, which are made of calcium carbonate—remain. This leaves behind a ghostly impression of the star; it is, quite literally, a chalk outline.

"It was creepy," said Raimondi, using a term one doesn't typically hear from biologists. The Wasting has that effect. It makes scientists, who tend to choose their words with severe caution, speak like teenagers. In conversations they kept using words like "shock," "horror," and "nightmare."

Researchers investigate the cause of a mortality event in much the same way that the CDC tracks a deadly outbreak or a criminal detective tracks a serial killer. It's not enough to know who has died. You have to know the sequence in which they died. You must trace the violence back to its source. But Raimondi couldn't detect any apparent pattern. The stars died at different rates. Some became ghost stars within hours, some took a week to succumb, and still others managed to recover. It was utterly unpredictable. If the epidemic was caused by warm water, then why had it gotten worse during the winter? It did not appear to be caused by pollution, which tends to be localized, because it was occurring everywhere. And if it was caused by a pathogen, then why didn't it appear to spread outward from some point of origination, instead of hopping around? In the middle of some of the most devastated sections of the coast, they found pockets of healthy starfish. In unaffected areas, they found pockets of wasting. It struck in warm water and cold water. There was no sense to it. Raimondi even questioned whether the Wasting was actually an example of wasting syndrome. Perhaps it was something different altogether, something entirely unprecedented.


A healthy giant sea star

Cameramen from CBS, NBC, and CNN began trailing Raimondi when he went on his regular research expeditions. Boats containing journalists would appear in the bay. The British tabloids ran articles with headlines like MYSTERY AS MILLIONS OF STARFISH WASH UP DEAD ON WEST COAST and MYSTERIOUS PLAGUE CAUSES STARFISH TO RIP OFF THEIR ARMS—AND SCIENTISTS DON'T KNOW WHY. One ecologist called the Wasting "the most extensive and devastating disease of marine invertebrates that has happened."

The press attention, though distracting, had its benefits. Thousands of alarmed citizens began to investigate unsurveyed stretches of the Pacific Coast, logging their observations on a new Sea Star Wasting map that Raimondi created. Participation increased in groups like the California Academy of Sciences' Citizen Science program, and Reef Check, which trains amateur divers to conduct species surveys. The data accumulated—wasting was even detected on the northern Atlantic Coast—and Raimondi's Wasting map grew increasingly detailed, but still no pattern emerged.

Amateur gumshoes wrote him with their theories. Many blamed global warming, or acidification, which occurs as oceans absorb higher levels of carbon dioxide. A particularly determined, conspiratorial set blamed the Fukushima nuclear crisis—a hypothesis that was swiftly dismissed by scientists. Others blamed power lines along the coast for bombarding reefs with electromagnetic radiation. One man claimed that Christmas trees had caused the Wasting. He believed that fir trees, farmed in Alaska, carried with them some kind of bacteria lethal to sea stars; when they were shipped in tankers to Southern California, he said, they shed their poisonous bacteria into the water.

Donna Pomeroy, a retired wildlife biologist who for the past 20 years has lived across the street from Pillar Point reef in San Mateo County, is one of the citizen science volunteers who began to monitor her local star population, participating in monthly surveys of the reef with a group from the California Academy of Sciences. Right away she saw that the stars that normally clung to the rock ledges were peeling off. "It was pretty gross," she told me. "They looked as if they were made of wax and had been left too close to a heat lamp. The arms were literally dripping off. It's my backyard. I'm protective of it. It's sickening."

Around the same time she also started to notice, in startling abundance, a Pepto-Bismol-colored mollusk called the Hopkin's rose nudibranch. "It used to be that we'd go several years without seeing the Hopkin's rose. Seeing one was a thrill. But now the reef was covered with hundreds of them. Something bizarre was happening."

"It was like walking into a redwood forest and finding candy canes growing out of the branches," said Mary Ellen Hannibal, an environmental writer who participates in regular surveys for the California Academy and is writing a book about citizen science.

"The nudibranchs are gorgeous," Pomeroy said, "but it's scary to see these changes happen so fast, so dramatically. There's a bigger picture, and we don't know what it is."

Catherine Lyche, a junior at Monterey's Santa Catalina School, had a particular attachment to sea stars; she would "scream with joy" when she found them on tide-pooling trips with her school's Marine Ecology Research Program. So she was disturbed last spring to find stars that were wrinkled, armless, and decomposing. "Even my teacher didn't know what was causing it," said Lyche. "That was troubling."

Her classmate Katie Ridgway was startled when she couldn't find any sea stars on a trip to the local Asilomar reef. A year earlier the stars had been everywhere. "It was like, wow—why is this happening? Did I do something to cause this?" On a school break she returned to Seattle, where she grew up, and found that the reef she used to explore as a child in Puget Sound was also devoid of stars. "It made me wonder if ten years from now, when I've graduated from college, if I come back here or to Seattle, is this still going to be a constant concern? If it continues, and water rises, and another virus affects another organism, what's going to happen by the time I have kids?"

"No one was able to see it coming," said Lyche. "If we're not able to predict something as significant as this, what else don't we see coming?"

There are 10 million viruses in a drop of seawater. It would therefore seem unlikely that scientists would be able to determine the pathogen responsible for the Wasting. But a breakthrough came in November of last year. Ian Hewson, a Cornell microbiologist who studies aquatic viruses, detected high levels of a previously unidentified virus in tissue samples taken from sick stars. His team named the culprit SSaDV, an acronym for "sea star–associated densovirus" ("densovirus" describes a small virus that tends to infect insects and crustaceans). When scientists injected SSaDV into healthy stars, the animals developed wasting symptoms. News reports trumpeted SCIENTISTS SOLVE MYSTERY OF WEST COAST STARFISH PLAGUE, but Raimondi, who co-authored the paper that announced the discovery, is at great pains to explain that this isn't so.

That is because the virus has also been detected, albeit in smaller quantities, in many healthy sea stars, sea urchins, sand dollars, and marine worms—in 24 species so far. It has been found in mud on the ocean floor. It has even been discovered in museum specimens as old as 1942, which means that stars have been carrying this virus for at least seven decades, and perhaps much longer. A librarian at Stanford came upon an 1898 report about Narragansett Bay by a biologist named Hermon C. Bumpus, who observed: "I have noticed on certain lots of star-fish... what appears to be a disease, attacking the skin first and not infrequently eating its way through the body."

Why had this particular virus, which appears to exist everywhere and has for decades if not centuries, suddenly become fatal to sea stars? Was the virus opportunistic, attacking only when an animal's immune system was depleted, the way that a person without a jacket might be more susceptible to catching cold? If so, what conditions had depleted so many stars? The mystery, it turned out, had not been solved at all. It had only deepened.


The mudstone reefs at Natural Bridges State Beach in Santa Cruz

In late February I conducted my own amateur investigation of the intertidal zone with Melissa Redfield, a member of Raimondi's research team. During low tide, Redfield and I walked ten minutes east of the Long Marine Laboratory to Natural Bridges State Beach. The reefs there are composed of Santa Cruz mudstone, a brown sedimentary rock, slippery with algae, and soft enough that sea urchins can burrow cubbies into it. A mother and her two children were spying beneath ledges and in wells for marine life. They yelled every time they spotted a hermit crab, a purple sea urchin, or a sea anemone with neon-green tentacles. A family of Japanese tourists did the same. A solitary woman kneeled facing the ocean and played a plaintive song on a recorder.

I could not see any sea stars no matter how closely I searched, but Redfield began to spot them almost immediately. She called me over to a location near the edge of the tide; I lay with my belly on the mudstone, craning my neck to peer beneath a rock ledge, with Redfield shining a flashlight, and still it took me a full minute to see the star, so expertly was it camouflaged. She kept finding additional stars, most of them colored violet and some purplish pink, hiding in crevices and, in one case, beneath a sea urchin. After a half hour, she had found about a dozen ochre stars. Most were the size of a quarter or smaller; the largest was the size of an adult's hand. All appeared healthy except for one of the larger stars. It was missing an arm and had a white lesion at the base of one of the remaining arms.

This has been a familiar pattern along the Pacific Coast this winter. As the Wasting has persisted, stars have disappeared almost completely in many locations. In others, stars survived a brush with the epidemic and seemed to recover, as if having developed immunity—only to be wiped out months later. Raimondi estimates that between 1 and 10 million stars have died so far. In the intertidal region alone, the mortality rate averages about 75 percent. But smaller sea stars have been observed at a number of sites in which the larger ones have vanished. "It's like a forest fire," said Rich Mooi, curator of invertebrate zoology and geology at the California Academy of Sciences. "The forest burns down and then the seedlings come." Most of these smaller stars are not newborns, however. Sea stars grow very slowly; by the time they are large enough to be observed, they are probably several years old. This means that the stars we observed at Natural Bridges were not babies but survivors.

This raises another question. Are these smaller stars actually immune to the Wasting, or are they simply too small to contract the disease? The virus may be benign in small quantities, only to become fatal once it multiplies sufficiently. If so, the seemingly healthy stars may reach a certain size, only to drop dead shortly thereafter. Or they may contract the disease as adults. We have no better idea of the stars' fate than they do. "I've never seen anything like this in my lifetime," Redfield told me. "It's hard for me to think of the big picture. I don't want to think about the big picture."

"Is it a onetime event or a harbinger of worse to come? You wonder whether there's been some big change that will irreversibly damage the ecosystem." –David Horwich

Raimondi today finds himself in the position of an investigator who has intimate knowledge of his suspect—the killer's tendencies, eccentricities, and modus operandi—who knows everything about the suspect, that is, except his true identity. Raimondi believes that the densovirus is probably the killer. But it is powerless alone; it requires accomplices. These might include warmer water, hypoxia, pollution, and ocean acidification—though not necessarily all of them at once. Then again, the entire densovirus hypothesis might be wrong. He wonders whether there might be correlation without causation. In that case the densovirus would be a secondary infection, an opportunistic predator taking advantage of an immune system that has been debilitated by some other stronger, unknown force.

It is also unknown what effect the Wasting will have on the fragile tidal ecosystems along the Pacific Coast. Sea stars eat mussels and sea urchins; might mussel beds, without the presence of this predator, extend their territory, expanding into lower depths? Might sea urchin populations surge? If so, that will have its own consequences. Urchins devour kelp, which provides nutrients and protection to a wide range of sea life. When urchins multiply too greatly in one area, kelp forests turn into kelp deserts. This leads to a phenomenon called "urchin barrens": surreal marine wastelands devoid of life apart from a sea carpet of purple-spiked urchins.

The urchin population does appear to be growing, though it is unclear whether the absence of sea stars is responsible. Even so, there is also concern that the urchins might not be as healthy as they appear: Raimondi has recently received reports of mass wasting among sea urchin populations. He does not know whether the same densovirus is responsible, but it looks familiar. "It's a lot like the early days for sea stars," he told me.

Yet Raimondi—unflappable, seasoned, sober—said he is not especially concerned. "A lot people ask me, 'Are they going to go extinct? Is there going to be a catastrophe? Is the whole ecosystem going to collapse?' The answer is no. I've seen this before, and the system recovered."

Some of the younger scientists and volunteer surveyors I met were less sanguine. They have been traumatized by observing in their own lifetime extinction events and environmental calamities that are unprecedented in the history of human civilization. The idea that the sea stars might be evidence of some decisive, more profound transformation of the marine ecology does not seem to them so far-fetched.

"Pete [Raimondi] sees it as a big experiment," said Jan Freiwald, a marine ecologist who is the director of Reef Check California, when I met him at his office at the Long Marine Laboratory. "He takes himself out of it. But we just don't know how big the effects might be. It worries me. The saddest thing is when you see the other sea stars eating one that is wasting. You think, No, don't do it!"

"It makes you feel sad," said David Horwich, a Reef Check volunteer who was one of the first divers to detect the Wasting. "Is it a onetime event or a harbinger of worse to come? You wonder whether there's been some big change that will irreversibly damage the ecosystem."

"It feels apocalyptic," said Mary Ellen Hannibal. "Whatever is going on with the sea stars has the sense of an immersive event that's not visible to the eye, that's pulling species out from underneath."

All that Raimondi can do now is monitor the juvenile stars closely, to see whether they will recover or die off like the rest. In this task, he will rely heavily on the vast network of citizen volunteers who have mobilized in response to the crisis. "We can only go to a certain number of sites," he said. "But so many people go to tide pools. That's a huge amount of data. We're getting a ton of reports from casual beachcombers in places we've never been." The problem is that the juvenile stars, which can be smaller than a pinkie fingernail, are exceedingly difficult to see. For this reason some of the most successful observers have not been marine scientists but small children.

"Parents have bad knees," said Raimondi. "They're not going to get down on the reef. But kids are super curious, they have great eyesight, and they're low to the ground." Some of the most valuable sightings have come from children as young as three years old, trailed by their parents as they scramble across the reefs. Preschoolers make excellent detectives. They are avid and indefatigable. They are deeply persistent. It is almost as if they're worried that these are the last stars they will ever see.

A University of Virginia Dean Is Suing 'Rolling Stone' for Nearly $8 Million over the 'Rape on Campus' Story

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The villain in "A Rape on Campus," the now-debunked blockbuster Rolling Stone story, has changed practically by the month. In December 2014, it was the anonymous frat bros from Phi Kappa Psi who allegedly gang-raped a woman the story called "Jackie" while instructing each other to "grab its motherfucking leg." Then, in the months that followed, the villain became reporter Sabrina Rubin Erdely, who we now know didn't properly corroborate Jackie's tale.

But Nicole Eramo, the associate dean of students at the University of Virginia, is making a case in court that was she was portrayed as the "chief villain" throughout. For that hardship, she's suing the magazine, its parent company Wenner Media, and Erdely for $7.85 million in total damages, according to a 76-page complaint unveiled Tuesday in Charlottesville Circuit Court. She's claiming six counts of defamation for both the print and online versions of the piece, interviews Erdely gave, and statements the reporter made in her own defense.

"I am filing this defamation lawsuit to set the record straight—and to hold the magazine and the author of the article accountable for their actions in a way they have refused to do themselves," Eramo said in a statement.

According to the complaint, the Rolling Stone article claimed "Eramo intentionally tried to coddle Jackie to persuade her not to report the rape; that she was indifferent to Jackie's allegations; that she discouraged Jackie from sharing her story with others; that she 'abused' Jackie; that she did 'nothing' in response to Jackie's allegations; that she claimed that UVA withholds rape statistics 'because nobody wants to send their daughter to the rape school'; that she did not report Jackie's alleged assault to the police; that she 'brushed off' Jackie; and that she actively sought to 'suppress' Jackie's supposed gang rape."

Instead, Eramo claims, she arranged two separate meetings between the police and Jackie that didn't result in an official complaint because she "adamantly refused to cooperate with law enforcement or name her alleged attackers." That narrative has been largely backed up by the local police.

What's more, the complaint argues that an image of Eramo was photoshopped blue and placed in a way that made it look as if she was giving a thumbs-up to a rape victim. That illustration is discussed in the suit as evidence of the dean's characterization as a villain.

In response to the piece, Eramo apparently received emails calling her "evil," a "wretched rape apologist," and a "disgusting, worthless piece of trash," according to the complaint, which cited messages like one that read, "I hope you burn in hell forever you fat hypocrite!!!" Eramo's attorney goes on to call Erdely "wanton" and the publisher "malicious."

After the story went viral. Erdely gave numerous media appearances repeating her claims—and statements she made on The Brian Lehrer Show and a Slate podcast constitute two of the defamation counts.

By December 5, however, the magazine said there was reason to doubt the memorable gang rape scene that made it so explosive. Erdely then made statements defending her reporting and condemning Eramo's supposed inaction, which are cited in multiple defamation counts.

For what it's worth, according to the Washington Post, which first broke news of the lawsuit, Jackie wasn't on board with their characterization of Eramo:

After the Rolling Stone article [was] published, Jackie joined other sexual assault prevention advocates and survivors in a letter of support for Eramo. Jackie wrote that Eramo counseled her with compassion at a time when the student was severely depressed.

"Dean Eramo has truly saved my life," Jackie wrote. "She listened attentively to my story and provided me with several resources... I can't imagine what my life would be like now if it were not for Nicole Eramo."

Erdely did not respond to a request for comment.

Follow Allie Conti on Twitter.

This Unreleased 15-Year-Old Low-Budget Horror Film Starring Adam West and Corey Feldman Is Truly Bizarre

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[youtube src='//www.youtube.com/embed/UVOj237gi9I' width='640' height='360']

On Tuesday afternoon, someone in Reddit's Movies community put up a post with the very long title: "Fifteen years ago my friend's dad spent a million dollars making a movie starting Adam West. He finished it but never released it because it was terrible—we finally convinced him to upload it to YouTube."

The movie is called Seance (a.k.a. Killer in the Dark), and the guy said to have put up all that money to make the horror movie of his dreams is Rick Vasquez, who, according to the author of the post, based the screenplay on his own experiences with a ghost when he was a kid.

Another Reddior, named griffinilla, claims to work with Vasquez and wrote in the comment thread he's the one who finally convinced Vasquez to let him chop the movie into ten parts and upload it to YouTube. According to griffinilla, there's a sad story behind the movie:

Rick had a very successful Traffic Control business here in LA. The million dollars [that financed the film] came entirely from his own pocket. You wouldn't know it by looking at him but apparently he was once very rich and well connected. Unfortunately, his business went under while he was making this film. Other traffic control companies (including, most notably, one owned by Rick's cousins) stole all his clients while he was away. He was broke for a while. And he never made a dime on the film!

A user on the Seance message board on IMDB who seems bizarrely knowledgeable about the film had an alternate explanation for the movie's non-release in a 2011 post. Vasquez didn't think the film was "terrible," according to user camink_inc, he pushed for a theatrical release that never happened, then a video-on-demand release via an "upstart internet horror network TBA," which also never happened. (The 2011 post claimed there would be a 2011 or 2012 DVD release through Amazon, but that doesn't seem to have happened either.)

Regardless of the film's shaky production and distribution history, it's an undeniably strange cultural artifact. If you don't have time to watch the whole thing, here's what it's like:

[body_image width='1275' height='720' path='images/content-images/2015/05/13/' crop='images/content-images-crops/2015/05/13/' filename='in-2000-a-guy-spent-his-life-savings-on-a-corey-feldman-horror-movie-and-now-its-on-youtube-body-image-1431489512.jpg' id='55469']

It's the story of John, (a goatee-ed and spiky-haired Corey Feldman) who had a ghost friend named Michael when he was a kid, but the ghost tried to kill his mom, and he had to have it exorcised. One day, at a party, grown-up John and his friends hold a seance, hoping to contact the murderous ghost using a mystical chant that goes "Michael Miller, come to me!" The group experiences a vision of a murdered pizza man, and magical stab wounds appear on John, but the wounds go away, so the friends all go to sleep.

[body_image width='1276' height='719' path='images/content-images/2015/05/13/' crop='images/content-images-crops/2015/05/13/' filename='in-2000-a-guy-spent-his-life-savings-on-a-corey-feldman-horror-movie-and-now-its-on-youtube-body-image-1431489532.jpg' id='55470']

The next morning, it turns out the pizza man really was murdered. In order to make the ghost they summoned go back to the afterlife, they visit John's grandma, but she gets possessed by the ghost, and threatens them. Then she collapses and tells John, "I'm old and I'm poor. Never despise the poor, mijo."

[body_image width='1274' height='712' path='images/content-images/2015/05/13/' crop='images/content-images-crops/2015/05/13/' filename='in-2000-a-guy-spent-his-life-savings-on-a-corey-feldman-horror-movie-and-now-its-on-youtube-body-image-1431489566.jpg' id='55471']

Soon, the ghost—along with its friend, a creepy dude who also has a goatee—starts killing members of the group. They begin by impaling Laura with a spike just after a sideboob-heavy shower scene.

[body_image width='902' height='498' path='images/content-images/2015/05/13/' crop='images/content-images-crops/2015/05/13/' filename='in-2000-a-guy-spent-his-life-savings-on-a-corey-feldman-horror-movie-and-now-its-on-youtube-body-image-1431491021.jpg' id='55481']

When John visits the scene of the murder, Adam West's character shows up for the first of a series of single-shot appearances. He plays a mysterious, angelic soothsayer who seems to be really into Jesus. The soothsayer tells John, "Life is short, my friend, and to be treasured."

[body_image width='1280' height='800' path='images/content-images/2015/05/13/' crop='images/content-images-crops/2015/05/13/' filename='in-2000-a-guy-spent-his-life-savings-on-a-corey-feldman-horror-movie-and-now-its-on-youtube-body-image-1431489932.jpg' id='55475']

One of John's friends boots up his computer and uses JazzySearch.com to search the World Wide Web for the killer. They find out that he lives next door. The internet was remarkable helpful even back in 2000.

[body_image width='1275' height='711' path='images/content-images/2015/05/13/' crop='images/content-images-crops/2015/05/13/' filename='in-2000-a-guy-spent-his-life-savings-on-a-corey-feldman-horror-movie-and-now-its-on-youtube-body-image-1431489732.jpg' id='55473']

The ghost and John's next door neighbor keep their killing spree going. They engineer a car crash that puts John's girlfriend in a hospital, then the ghost possesses John and forces him to suffocate her while she's stuck in bed bed. Later, the ghost possesses a computer, causing a CD-ROM to eject at throat-slitting velocity, killing John's friend Eric.

[body_image width='1276' height='716' path='images/content-images/2015/05/13/' crop='images/content-images-crops/2015/05/13/' filename='in-2000-a-guy-spent-his-life-savings-on-a-corey-feldman-horror-movie-and-now-its-on-youtube-body-image-1431489756.jpg' id='55474']

There's a (spoiler alert) climactic showdown with the killer, whom John ends up shooting in the head. Then the ghost grows into a full-grown man-ghost. So Adam West appears and banishes the ghost to hell with an energy blast from his hands.

[body_image width='1274' height='718' path='images/content-images/2015/05/13/' crop='images/content-images-crops/2015/05/13/' filename='in-2000-a-guy-spent-his-life-savings-on-a-corey-feldman-horror-movie-and-now-its-on-youtube-body-image-1431490360.jpg' id='55477']

Finally, once everything calms down, we see that all of our heroes are alive again, and it's the night of the party that started this all. Everything was apparently a vision they had during the initial seance.

There were more special effect shots than we could count—definitely more than there would typically be in a $1 million movie—so we reached out to visual effects supervisor, Bob Wasson of VFXLab, to find out what it was like to work on the set of Seance.

Related: Watch our documentary about remaking Indiana Jones shot-for-shot.

VICE: What was it like working on Seance?
Bob Wasson: I guess overall, it was fun. It was a really low-budget project for us, but at the time—this was the early 2000s, and I came from a background of doing physical effects—my best friend was just getting into doing computer effects, so we were experimenting with merging CGI with practical effects. CGI was just starting to become mainstream, and we were experimenting with how to get the most out of the very minimal budget we had.

What did the work consist of?
We're talking about trying to create cinema effects on a Pentium 90 with a two-gig hard drive. My buddy and I were dragging desktop computers to the set and trying to do green-screen compositing on the fly.

What about the rest of the crew?
It was a fairly green crew. I think it was Rick's first and probably only film. He had hired a guy named John Preston to direct the film, and John was more like an industrial or commercial filmmaker. It was kind of new ground for most everyone working on it.

Technical question: What was the format?
It was shot on DV tape. It was right as digital videotape was starting to take off. By today's standards it was pretty low-res. 28 Days Later and a few other films successfully pulled it off, but of course they had much bigger postproduction budgets. Every few years there's a boom where people realize, "Hey, we can get away with this to make a movie." A few years ago it was DSLR cameras.

How was it working with Corey Feldman?
I'd worked with him before on a movie he made when he was a teenager called License to Drive, with Corey Haim. I was close in age to him. It was like "Hey dude, remember me? We worked on that thing together." So there were scenes where I had him covered in blood, and in between takes we were recounting stories of License to Drive.

Did you expect it to find an audience?
In the early 2000s, there wasn't really the market you see now, with on-demand video and stuff like that. But people were trying to get stuff released theatrically, or on home video. I don't think anyone working on this thought it would get a theatrical release, other than maybe the producers, and I think maybe Corey Feldman.

Did you think it would be lost forever?
It wasn't a masterful script, and obviously with the low budget, I'm sure that it doesn't stack up very well against most of the films that are out there, but you see terrible movies all the time. So I couldn't imagine that they wouldn't get any distribution for it, since it had Adam West and Corey Feldman.

Did the script cause problems on set?
There were a lot of revisions being made on the fly, where were said, "OK, this person couldn't be here, or this location went away, so how do we fix this?" I remember having brainstorming sessions, and people tossing out ideas. What ended up onscreen is probably quite a bit different from where they were originally headed, in some ways, probably for the better, and in some ways probably for the worse.

So overall, was this something you were glad you got to do?
It was a fun experiment for me, but it holds a special place in my heart, believe it or not. My buddy who worked on it with me passed away like two years later from cancer. It was like, his final thing that he got a chance to be a part of. He was really pushing the envelope considering the tools we had at our disposal. Regardless of whether the movie is cheesy and the effects are dated, it's one of those moments in my history that stands out as special.

Follow Mike Pearl and Jamie Lee Curtis Taete on Twitter.

London Babylon: East London's Gentrification Has Left Me Behind

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Anti-gentrification protesters in Brixton. Photo by John Lubbock

This article originally appeared on VICE UK.

I've been thinking about that old truism, "The definition of madness is to keep doing the same thing over and over and expect a different result." Like a laboratory chimp compulsively giving himself painful electric shocks in the hope of a peanut that never arrives, I obsessively google "London housing bubble" every day, in the vain hope that's what it turns out to be—thinking, almost beyond hope, that if I can only hang on to the ropes of this crazy rising balloon a bit longer, it might run out of hot air and sail back to solid ground before I lose my grip and plummet to my doom.

One thing's eminently clear: If things keep going the way they have been, I can forget about ever settling down in this city I've made my home for 20 years—a place to call my own is now a pipe dream, as is continually scraping together the rent that just goes up and up like an unpayable Wonga loan.

The other day I was walking down Mare Street, that smelly Hackney thoroughfare that until very recently was all Paddy Powers, places that unlock mobile phones, and fried chicken shops. I noticed one of the many estate agents that now pepper this street was having a "launch day" for a new block of flats. There was a tangible air of excitement zinging about the office. Like the aforementioned laboratory chimp, something compelled me to enter this slick Hellmouth, even though I knew in my gut that only torment and impotent rage could result from the impulse, with no peanut at the end.

"Can I have a look 'round one of these new flats?" I asked the short man in the shiny trousers and pointy brogues.

"They're not finished till the summer of 2016," he said.

"But that's in two summers' time."

"We'll've sold them all in a month or so," he countered.

"Really? How? Who do you reckon'll be buying them?" I asked, bemused.

"Mostly city professionals and foreign investors paying cash."

All they had to look at was a coffee-table sized brochure and an architect's model of the block about the size of the estate agent's head. Cunningly, the model was presented in complete isolation from its context, the colossal sink estates all around it. The estate agent didn't feel the need to mention them either. Instead, he started explaining what a buzz the area had about it these days, how great the Hackney Empire was, how close we were to the food market with the £5 [$8] sourdough loaves and the 20-minute queues for artisan flat whites. "Yeah, I know where everything is, I've lived in Hackney for 15 years," I said. "Oh, really! You should have bought a flat back then!" he said, in an awkward attempt to include me in some kind of property in-joke, barely able to disguise his incredulity, and the look in his eyes that said he thought I was a total dick for missing the boat in the days when house prices in East London still made even the vaguest kind of sense.

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The problem is, he was right. "How much are the one bedrooms?" I asked, bracing myself.

"One bedroom flats start at £360,000 [$560,000]," he replied, effectively ending the conversation there and then. More than a third of a million pounds, to live in an IKEA catalogue photo shoot marooned in a sea of sink estates full of people who hate you, with no tube. And you can't even have a look at anything more than an architect's model of it for two years. And you'd better hurry because they're selling like hotcakes. It seemed absurd.

My time in the estate agents was finished. I mumbled some excuses neither of us were at all convinced by and went off to the pub to gather my thoughts. My temples throbbed and my head began to ache. Some guy in a flared suit and Panama hat walked by me. How does HE afford to live in Hackney these days? I thought. A little school kid walked by, speaking Spanish to his mom in her work uniform. How do THEY afford to live in Hackney these days? I found myself on Broadway Market, hating every Ray-Banned quiff, every organic mom in her stripy Breton top and wild-haired child on a wooden bike, every middle class colonist boutiquifying inner city London to the point where it becomes a flat white monoculture.

I sat in the corner of a pub I've drunk in for 20 years, back when it was the only island of bourgeois eccentricity in a tumbleweed strip of greasy fried chicken boxes and beer cans rattling down windy, deserted streets, trying to make sense of it all. Just thinking about how I might possibly stay and make a home in London opens me up to a world of mental torture these days.

Even if I could afford one of those flats—and I most definitely can't—I wouldn't want one. I'm so fucked off with it all I just can't look at this city in the same way any more. In the parlance of the cockney diaspora who got pushed out of inner London a generation or two before me, it feels like I'm living in a city that's mugging me off. It's like London's an old partner you realize has had his hand in the till all those years you trusted and stood by him, even when he was acting like an asshole, a charismatic old friend you've finally realized was really just a bit of a cunt all along.

For some unfathomable reason I'd taken one of the estate agents' huge brochures, printed on thick pseudo-artisan paper, complete with lavishly photographed street art and glasses of rosé glowing in the golden hour. The patter was absolutely shameless: "Eating al fresco here's almost de rigeur," it claimed. "Just cappuccino the afternoon away," it recommended. "It's getting so trendy they're starting to call it Mareditch," it said. Who's starting to call it fucking Mareditch? I ranted to myself. The estate agent community?

I repeated my rant to someone who lives on Mare Street later that evening, to a blank expression; it took him five minutes to even realize it was a pun.

Related: Watch or doc on the housing crisis 'Regeneration Game':

Even more maddening than the words were the pictures, a mirage-like photo-story of a fictitious couple buying one of the flats, a twat with a circus mustache and his smug girlfriend, looking more and more pleased with themselves as their new life in "Hackney's Creative Quarter" opens out for them; two twats vintage clothes shopping; two twats drinking Tattinger in gastropubs; two twats meeting their twat friends, who wear bow ties. Have you ever met anyone who actually wears a bow tie in real life? The only person I've ever seen in one who wasn't in some kind of lifestyle marketing campaign is Will.i.am, but that was on TV, and I suppose his life must be a strange place where the divide between these categories becomes impossible to discern anyway.

Reading through it, nothing in this brochure seemed to stack up. In the "Coolest Neighbors" section it described Shoreditch as "almost impossibly smooth... start to network here and you're sure to meet some very serious players." It just didn't fit the circus-mustached kid in the photos at all. He didn't look evil enough to think in those terms. It was then I realized what the most hateful thing about this brochure was: The two caricatures in the photo-story were just a cynical poker bluff, sprats designed to hook an even more soul-free and wanton class of cunt. Will hedge-funders in pink Hackett shirts swallow this bait? Will circus stashes and bow ties help convince dodgy foreign investors to sink £360,000 [$565,000] in cash into this development? Can they really sell flats to Chinese factory owners by telling them that "Mareditch" is cool?

I remember when a friend of mine moved to Paris in the 90s to pursue his dream of becoming an artist. He came back to England, disillusioned, five years later, calling the city "a museum"—mummified, stagnant, a victim of its own past glories, bought up by rich outsiders who'd out-priced the creative vibe that drew them there in the first place. The locals, wistful and resigned, referred to their city as "The Sleeping Beauty," looking on enviously at how London was ablaze with the best art, the best music, the best nightlife, the best creativity of any stripe, while they were left with only fine wine and memories, as Uncle Monty might have put it. Is London headed the same way as the Sleeping Beauty—an exquisite corpse, too dolled-up and expensive for the creativity it's still trading on to flourish, or even survive?

As I sat in the pub, I couldn't help but hate this city and what it's becoming. I sat there in the corner raging about it. I realize I've turned into a man who mumbles to himself while everyone else is having fun, and I loathe them for it. After giving this city the best years of my life, I find myself living behind enemy lines. Maybe I should just cut my losses and fuck off. They certainly aren't going to fuck off any time soon. I left the pub, sloped off down Mareditch, with the words from the movie ringing in my mind: "The war's over, Lebowski! The bums lost!"

Michael Smith is a writer, filmmaker and broadcaster. He is the author of three works of fiction, The Giro Playboy, Shorty Loves Wing Wong, and Unreal City.

Passengers Describe Terrifying Moment Amtrak Train Derailed, Killing at Least Six

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Passengers Describe Terrifying Moment Amtrak Train Derailed, Killing at Least Six

The Boy Racers of Greece

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This article originally appeared on VICE Greece.

Every Thursday, a few dozen guys meet up in a parking lot in Thessaloniki to show the world how badass their rides are. It's a car pissing contest a la Fast and the Furious, and it draws crowds of over 1000 people each week. While engines rev, the spectators pound beers and listen to obscenely loud music. The gatherings have become more popular over the last few months, and people now show up hours before the 10 PM start time to get a good spot.

A small roundabout is the only thing separating the makeshift track from the rest of the parking lot. As soon as the first cars enter the ring a sort of respectful silence falls over the audience. As the driver peels out, tires spinning against the tarmac, the air fills with thick gray smoke. It's the same noxious odor that filled the room when your college roommate lit his chest hair on fire in the dorm.

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To an innocent bystander the whole affair may seem pretty lawless, but it's actually quite calculated. Supposedly, the most important rule is one of common courtesy—let the driver ahead of you finish his or her show before you enter the "ring." People have waited all week to pop a wheelie in their Mazda and they'll be damned if they get stopped before they've done it.

The more adventurous drivers take turns slaloming in and out of the parking lot's lampposts, and at one point, two smaller cars crashed into each other. The whole thing stopped momentarily, until both drivers climbed out unscathed and shook hands like true gentlemen.

Related: Boy Racer

One of the attendees, Chris M, told me"These guys live for speed. Every car you see here has probably been souped up for twice the money it was bought. Most participants or attendees are working class men. They work at garages or tire services and do as much overtime as they can just so they can afford a new exhaust pipe or some tires."

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As rowdy as it may look, the whole affair was actually quite civilized. When I asked what happens if the cops show up, I was told that everyone just packs up and goes home. How very polite.

- Kostas Koukoumakas

Comics: Blobby Boys - 'Life Lessons'

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VICE Premiere: VICE Exclusive: Wywy Brix Will Make You Forget About All the Terrible IDM Out There

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Thanks to the magic of the World Wide Web, a DIY electronic musician in New Zealand can release his music online, garner the attention of an cool boutique electronic label in Canada, then release a mind-blowingly good album on that label, all from behind a laptop screen. Wywy Brix is that musician, and Richard MacFarlane's exquisite 1080p is that label.

Wywy Brix's music transcends the increasingly silly IDM tag. His new album, Clear Licorice, is somehow simultaneously fun, sobering, and emotionally resonant. Some tracks make you want to dance, others make you want to meditate, and others make you want to saunter freely through a windblown wheat field contemplating the futility of existence. Ultimately, though, the album is full of killer springtime jams to shake off any remnants of your seasonal affective disorder. Listen to the exclusive stream above.

Preorder Clear Licorice here.

​Men Do Comedy Good: #FHRITP Edition​

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Screenshot via Youtube

Three days ago outside a Toronto FC soccer game, CityNews reporter Shauna Hunt was setting up with her crew for a live broadcast when a hilarious dudebro crashed upon the scene with masculine aplomb and shouted into her microphone: "Fuck her right in the pussy!"

Because reasons.

He quickly fled the scene, as heroes do. Oh, but how the surrounding dudebros took such pleasure! Oh, how they laughed with sheer joy! Sexual harassment! Sexual harassment IN the workplace! Women are just vaginas! Hilarious, violent, dehumanizing aggression! If that isn't pure comedy, we're throwing away our Family Guy DVDs.

Hunt, who clearly can't take an innocent joke (and, really, shouldn't be allowed near the sports arena, aka MAN TERRITORY, until she acknowledges that boys will be boys), decided to confront our dudebro heroes. She asked them why they thought it was necessary not only to degrade women, but also why they would want to embarrass her on live television. They tried to explain the joke to her female brain, saying that "it is quite substantial." Truer words have not been spoken. The immense significance of being able to be The Most Substantial Dudebro in front of a live audience, and also getting your ass fired from your employment, is a time-honoured tradition. And this fucking broad just, like, is ruining everything. She must be frigid or a lesbian or something.

Seriously, unless she was willing to take off her top, or talk about how wet she was in that moment, she really should have just shut up. The whole point of #FHRITP is to make women feel helpless and vulnerable in public. It's the perfect way to force her to contribute to her own silencing. We get to create the content, and we also get to control the response. No matter what she says in reply, she will get laughed at.

Her: "It's a disgusting thing to say, it's degrading to women..."

Him: "BUT WHERE ELSE ARE YOU GONNA DO IT?"

HAW HAW HAW AM I DANIEL TOSH YET?

Her: "If your mom saw you laughing about—"

Him: "MY MOM WOULD DIE LAUGHING."

CAN'T HEAR YOU, MOM DYING OF PUSSY-RELATED LAUGHTER.

When you watch the video of the incident, even the men in the background who say nothing to her are all giggling like school boys who got into dad's Canadian Club whisky stash for the first time. It's funny to them because there's no way she can win with her "thoughts" and "questions" and "rational argument." Oh, you mean she just wants to do her job free from obscene, violent language when she's filming on location? But there's no other way for these gentlemen to interact with a woman!

[youtube src='//www.youtube.com/embed/LKkAL1AEam8' width='640' height='460']

And of course, everyone on social media agrees with our humble soccer fans' assessment of the situation. It has nothing to do with violence against women! Really, you just shouldn't interact with those evil "feeeeeemales." We should sue the fuck out of that cunt! And don't forget the real loser in all of this: anal sex. Won't someone think of the anal sex! On Twitter/Reddit et al, anyone who is stupid enough to post an argument against hilarious, sexist bullying is put through a variation of this manipulative dialogue:

"You don't think sexual harassment in public is funny?"

" No."

"You will have to debate each and every one of us to win, then."

" I don't think I should have to."

"FEMINAZI!"

We win every time! We are the champions! WE ARE THE LEADERS OF THE WOLF PACK!

DUDE-S-A! DUDE-S-A!

And let's not forget the many voices on Twitter who, in a roundabout fashion, aid in our cause with their #NotAllMen arguments. Sure, not all men go around yelling "fuck her right in the pussy," but it's also true that only dudes have been known to do this. But, heyyyy, maaaan! We, in particular, have never yelled this out! LET'S MAKE THIS ISSUE ALL ABOUT ME ME ME. EVEN THOUGH THIS ISSUE ISN'T ABOUT ME, LET'S SHUT DOWN ANY CONVERSATION WOMEN WANT TO HAVE ABOUT THEIR UNIQUE OPPRESSION BY REMINDING THEM ABOUT MEEEEEEEEEEEEEE.

Broads just don't get it: they are the object of our desire and simultaneously the object of ridicule. Why are they not cool with this? Fuck knows. What happened to women having a sense of humour or being able to take a compliment? We're telling them that we want to fuck them right in the pussy, not drug and rape them right in the pussy! You're killing our attempts at romance!

We're so glad that so many people are defending our fellow downtrodden dudebro engineer who was fired from his $100K job at Hydro One for reminding a professional reporter that she is just a vagina on legs. We're also glad that not a single person who witnessed her sexual harassment stopped to defend her. Like, bitches have all the rights in the world. Dudes have to die in wars! If she really cared about women's rights, she would go to Somalia.

We're fucking right in the pussy for you, Somalia.

And women, don't forget that the next time you are sexually harassed in public, in the workplace, in private, or online, that you can't take a joke. That it was your fault for choosing to dress yourself the way you saw fit. That you can't take a compliment. That you're not entitled to feel safe in your community. That how you look is more important than how you feel. That dudes can only relate to you by way of their boners. That boners are more important than your safety. And that because you are walking through the public sphere, your body is public property.

Because reasons.

Follow Christine Estima on Twitter.

Is It Manslaughter to Serve Someone 56 Shots of Liquor?

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Is It Manslaughter to Serve Someone 56 Shots of Liquor?

Meeting the People Behind the Grim, Surreal Headlines of British Women's Weekly Magazines

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This article originally appeared on VICE UK.

For most of the world, magazines reflect what people want: Airport newsstands are all about how to spend vast amounts of money on a yacht or a big watch; city corner magazine stalls are high fashion and trendy lifestyles; any shop near a big Whole Foods is all about where to get the best $800 colonic and how to activate your almonds. Magazines, as a general rule, are aspirational.

Unless you're one of the UK's raft of 70p-or-thereabouts women's weeklies—you know, your Take a Breaks, your Pick Me Up!s. Because who aspires to live "My 52-Hour Rape Hell"? Who wants to wake up to "I Found Mum Murdered Under My Xmas Tree"? Who is buying this undulating wave of misery porn? As a rule: moms and grandmas. And as a result of their thirst for despair, the UK's weekly cover headlines have turned into a luminous collage of unimaginable horror:

Trophy Killer Wanted My Dead Brother's Fingers
My Stalker Burned My Son Alive And Took My Eyeballs Out
Headbutted By Pregnant Sis-in-Law
I Breastfeed My Dad
Lover Paid Thugs £50 to Burn Me Alive
SOS! Psycho in Our Flowerbed

These are standard cover lines that you can find at eye level in any supermarket in the UK, in magazines like That's Life, Pick Me Up, Real People, and Love It! And they make up a huge business. At its height, the biggest consumer women's weekly, Take a Break, sold nearly a million copies a week. That's almost three times the weekly sales peak of 50 Shades of Grey, the best-selling book of all time.

To find out what it's like to produce these stories—and, more to the point, how the hell you find someone who breastfeeds their father—I spoke to two people who have worked at a selection of women's weeklies. Both of them appear here under assumed names.

"Certain magazines," says Alex, "have a weird way of working. Every week they have a headline meeting, and they [the editors] basically make up a headline. It could be something grotesque like 'Raped by My Sick Pedo Granddad,' 'Eaten by Wolves,' anything, and you have to find a story that fits that headline. At one magazine in particular—I'd rather not say which, but it's one of the best-selling ones—the editor is quite notorious for saying, 'Right, I want a rape story on there this week—go find one.'"

"You're looking for anything with shock value," says Pat. "It could be someone dying in a horrific, bizarre circumstance, or it could be someone who had a collection of 10,000 novelty bells. The more bizarre the better."

"So then," says Alex, "you start looking—Google, local newspapers, the police, and local journos. On community sites like Netmums, you can type in the keywords—literally 'raped by dad'—and it'll come up with conversations that moms have had on the forums. Often they'll want a threesome story, and for that we contact Jeremy Kyle for case studies."

[body_image width='716' height='334' path='images/content-images/2015/05/12/' crop='images/content-images-crops/2015/05/12/' filename='this-is-what-its-like-to-work-for-a-womens-weekly-body-image-1431440401.png' id='55242']Image from Pick Me Up!'s Facebook Page

Finding a story is only the first step, though. Unless you lock it down with a contract, the story will go elsewhere. "If you've found a story," says Pat, "you try every possible method of hunting the person down as quickly as possible, because there will be other magazines looking for them. You message everyone on Facebook who has that name, you send letters. You cold-call them. That's quite hard, because for some stories the people might be in a situation where something horrible has happened to them quite recently, and you're trying to sound sympathetic while also saying, 'Can you sign a contract in the next half-hour?'"

Alex agrees. "Sometimes the contract is literally at their door within an hour. If the magazine is desperate and they know a news agency in the area, they'll pay the agency to go and knock on the door. I've never done a proper door knock. It sounds horrible. If someone's kid has just died... I couldn't do it."

If a magazine gets there first to sign a story up then it's game over. But if a news agency gets there first, a bidding war ensues. "If it's a big story that's been in the news," says Alex, "there could be up to 20 magazines and up to 15 news agencies all wanting that story."

[body_image width='669' height='402' path='images/content-images/2015/05/07/' crop='images/content-images-crops/2015/05/07/' filename='this-is-what-its-like-to-work-for-a-womens-weekly-body-image-1431006688.png' id='53695']Image from Take a Break's Facebook page

Pat remembers one story about "a girl who had got into a slanging match with another girl at a burger van. The other girl grabbed the deep-fat fryer and poured it over her. Her face was completely destroyed by burning chip fat. She had photographs of her after the incident, so there were lots of magazines bidding for that story. She had an agent working for her and they don't tell you exactly who else is bidding, they just tell you if you need to go higher."

Large sums for stories are mostly a thing of the past. These magazines are now part of an ailing print industry and, as circulations fall, the market value of one person's misery and pain falls with them.

"If they [the magazines] can get a story for $80," says Alex, "They will. But they still pay a lot for some really big stories. I found a woman whose mom and sister were murdered by her ex-husband. He shot them, and she heard it on the phone. She got two grand. I think that's about the maximum you could get at the moment."

It's difficult to see the business side of this operation as anything but vulturine—the doorstep contracts, the frantic bidding for pictures of a wounded face—but when Alex and Pat talk about the interviews themselves, it's obvious they feel great compassion for their subjects. This is not an easy job.

"It's horrible," says Alex. "This woman was a really nice lady. She's sitting there crying and I have to say things like, "OK, so, what did it sound like when this happened?" It feels intrusive, but I feel better doing that in person than I would over the phone. She got all her pictures out and I was with her for about two or three hours. I think she enjoyed telling me—not about the horrible stuff—but just her memories of them. She texted me later to say, 'That was really nice, it felt really good to talk to someone who was removed from the situation.' And then I was thinking, 'Oh God, I hope they [the magazine] do a good job with it.'

WATCH: Our film on tampon tax, 'The Luxury Item':

"I interviewed a woman whose husband had been hit by a train," says Pat. "She was pregnant, and they had a couple of little kids already. He'd gone out after work, and she woke up the next morning and there was no sign of him. She'd been shown the CCTV that showed him walking along the train line, stumbling into the tracks. She was crying a lot while I was talking to her, and the probing questions I had to ask were what were making her more and more upset.

"She had to go briefly in the middle of the interview to do something else for a minute, and I came off the phone and just started crying. I didn't feel like I could go back on the phone and talk to her. You feel like you're making someone go back through a terrible experience by the questions you're asking."

On another occasion, Alex went to interview a young woman at an army barracks. "She'd stabbed her boyfriend. It was in self-defense; he'd been beating her up, she'd stabbed him and he died. Anyway I'm interviewing her in the kitchen and she was a really nice girl. But she was next to the knife rack, and I just kept thinking, she could just kill me. It could happen again. I just couldn't concentrate. I was looking at her, and I didn't want to ask, but I was just thinking: Is that the same knife block?"

While the cover lines for women's weeklies display a red-beaked appetite for sexual violence and death, both journalists are keen to point out that the truly harrowing stories are rare and that they find most of their interviews to be positive, if occasionally a little unusual.

One of Alex's most memorable interviews was with a septuagenarian transsexual: "'OAP Tranny' was the headline, I think. He picked me up from the station and we went to his house. He had a big dead tarantula pinned to his wall and kept feeding me chocolate eclairs. I went to the toilet and he'd painted a mermaid with her tits out on the wall. His bedroom had all these china dolls in a cabinet, which was a bit creepy, and then I tried his shoes on because we had the same size feet. I remember going home from that one just thinking, 'Wow.'"

Ultimately, says Alex, "The good outweighs the bad. People you've interviewed send you Christmas cards. There are people who really wanted to get something off their chest or raise money for their charity, or who have lost 15 stone and are really proud of themselves. It's just like any job—there are bits you don't like as much as others."

I Spent the Day with Only One Direction, the Most Popular Tribute Band in the World

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I Spent the Day with Only One Direction, the Most Popular Tribute Band in the World

The Controversial Performance Art Class at a California University Where the Students and Professor Get Naked

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Illustration by Flickr user Rob van Roon

Ricardo Dominguez is not shy about nudity. For over a decade, he's been teaching performance art classes at the University of California, San Diego, including some sessions where he and his students collectively take off their clothes in order to metaphorically reveal themselves to one another. This Thursday, there will be another such class, where students will bare it all in a candlelit circle—but this semester is not like other semesters, because one student's mother has accused Dominguez of being a pervert.

This mother—unnamed at her request in local news reports—claims that her daughter is being forced to strip for class, and told ABC's 10News that she felt "sick to her stomach" about the assignment. "I'm not sending her to school for this," she told the TV station this week, echoing the sentiments of many, many parents who pack their kids off for an arts education.

Dominguez has been teaching Performing the Self, an upper-level performance art class, at UCSD for the past 11 years, and he says this is the first time anyone has ever complained. Importantly, his course isn't a requirement—meaning that anyone who took it would likely be looking to explore the boundary-testing, often-clothes-optional world of performance art. The mother alleges that her daughter wasn't aware of the class's nudity requirement, but Dominguez and other students have pointed out in news stories about the controversy that the expectations are clearly laid out during the first week of class, and students who aren't comfortable taking their clothes off can opt for an alternate assignment on exposing "emotional nakedness," which means keeping your clothes on while displaying emotional vulnerability. (Dominguez said almost no one chooses this option.)

If Dominguez's teaching methods are unorthodox, they're in keeping with a new tradition of college courses that color outside the lines. When I was in school, there was a course on living the monastic lifestyle, which required students to, at various points throughout the semester, give up technology (including laptops and alarm clocks), strictly limit their diet to raw vegetables, practice celibacy, and spend an entire month in silence. Really, it's amazing what you can get college students to try.

There are lots of classes like this, which either force students to really explore their beliefs or exploit their eagerness to try new things, depending on who you ask—classes on the " art of walking," classes where you spend hours analyzing daytime soap operas, classes about playing Scrabble. One of my former professors began teaching a course last year called "Wasting Time on the Internet," which is exactly what it sounds like. For course credit. For a diploma.

Related: Watch our interview with Richard Prince

"Education is about shifting the considerations of what we understand as knowledge and research," Dominquez told me. "If one looks at the etymology of what the term 'education' means, it means to be turned inside out. Our job as a research university, and as a visual art program, is to educate our students—that is, to turn them inside out, and allow them to be at the forefront of not only post-contemporary art, but art in the future."

The syllabus for Performing the Self involves a series of "gestures"—artistic performances relating to self-expression, using the body as a canvas. "The core prompt for the nude gesture is to create a work that reflects on the question: that which is more you than you are," Dominguez told me. "In the past, some students have focused on their hair; other artists have focused on their toes, or their stretch marks, or the question of their lips, their mouth, their tongue, their eyes."

All of Dominguez's classes begin with his students seated in a circle in the studio, and the day of the "nude gestures" is no different. "They're only allowed to have very intimate lighting, a small candle, in order to create the gesture," Dominguez said. I asked Dominguez if he was nude too. The short answer is yes.

"It is important that the students feel that I, as the professor, also risk this space of performance. I did not feel in discussions in the past with students that it would be conducive to them being open, to creating the work, if I sat there completely clothed, judging them," he said.

Most of Dominquez's seem to like him—he has good marks on Ratemyprofessor.com, with even a student who ranked him "average" saying, "I couldn't make heads or tails of this class when I got there, but in the end I'm so glad I took it." Lisa Korpos, a senior at UCSD and one of Dominguez's current students, wrote via email that the class environment was "supportive, open, and safe."

"There's a lot of media focus on the 'nude' gesture, but nobody has slowed down for even a moment to consider what else we have been doing," Korpos wrote. "For instance, our second gesture was a confession piece in which we were prompted to share the worst thing we'd ever done, or the worst thing we had ever thought about doing.

"All 15 of us willingly blindfolded ourselves, and we sat huddled together, sharing these hauntingly honest tidbits of our respective histories," she went on. "Each confession was more stirring or powerful than the one before: I learned that theres' a compulsive kleptomaniac in my class, a girl who's been struggling with depression and suicidal thoughts for more than a decade, and another who remained in a romantic relationship for years because she feared nobody else would ever love her. Every single student came out of that class with a deep sense of empathy, understanding, and care for their fellow classmates—a sense of connectedness that simply didn't exist prior to that session."

Follow Arielle Pardes on Twitter.

There Aren’t Enough Safe Spaces for Queer and Trans Students to Survive University Campuses

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Screenshot via Daily VICE

Victoria Bryant enrolled in Laurentian University to study computer science. Along the way she got an education in transphobia, when she learned her university only cared about her safety after threats from human rights officers.

She was just one of the attendees at this year's Canadian Queer University Services Conference (CQUSC), held at Ryerson University last weekend. It was billed as a student-organized conference for queer and trans students, but it could've doubled as a survival guide to the Canadian campus, one of the most dangerous places to be a minority.

Serial sexual assaults at Ryerson University and University of British Columbia. Rape chants fromVancouver to Halifax. Misgendering and trans harassment at University of Manitoba. These are just the few stories that get media attention; the cacophony of problematic fuckery going on at institutions of higher learning is why many students take action themselves and organize groups, events, and safe spaces for marginalized identities.

The workshops were geared to those who have been or will be in shitty situations: dealing with sexual violence, activist burnout, racism, and transmisogyny were just a few of them. How to listen to others going through shitty situations was another.

I facilitated two discussion groups at CUQSC, one for mental illness/madness and another for disability. I needed a breather from talking about how shitty it is to choose psychiatric drugs over textbooks, and met Victoria over a game of Super Smash Bros. at the conference.

Bryant led a workshop on preferred name policies. She decided to go to CUQSC after her experiences with Laurentian University administration, where changing her name became a nightmare.

Bryant transitioned between first and second year. After going through several channels, her birth name was removed from documents and online resources. When she took a teacher's assistant job at the university, her name reverted back to her birth name, outing her to classmates and professors. Things went from bad to worse when exams rolled around: without a student card bearing her preferred name, she was ineligible to write.

"Look, I want to pass all my classes. You know, the ones I'm getting As in?" Bryant told the registrar's office.

With her birth name popping up on university services over four months, she broke down. Stressed and not sure where else to turn, she went to Pride@LU, Laurentian's LGBTQ student group. Their support, along with a school committee threatening to report Laurentian's administration for human rights violations, got her a slew of apologies. The school, however, still has not made a preferred name policy. She stressed that her problems with Laurentian University isn't with the whole school; it's with the administrative department that had power over her.

Pride@LU, and other safe spaces like it at universities, are disruptions of systemic power. They interrupt centralized experiences just by existing, giving physical spaces for marginalized students to occupy and build communities.

It's pretty fucked up that students themselves have to make safe spaces on campus to get away from trauma and take care of each other. It's even more fucked up that these spaces are so scarce.

Emma Harrison, a fourth-year psychology student at University of Ottawa and a woman who identifies as queer and disabled, was told by a professor that her orientation "needed to be fixed." She's heard professors condemning all mentally ill individuals as dangerous. Every semester is a battle to get university administration to take her invisible disabilities seriously, especially since her ADHD is often mistaken as apathy or laziness.

"I have to always justify why I am disabled," Harrison said. "Through my struggles of failing multiple courses, not receiving accommodations for assignments and exams, and hearing ableist remarks from profs about my disabilities, I have absolutely no faith that the university cares in the slightest about students' well-being."

Both Bryant and Harrison note the lack of safe spaces for racialized students in particular on their campuses. Ryerson fares better, with an active racialized students' collective, but even they came under fire for just existing—in March, national publications and school newspaper The Ryersonian reported on white students being denied access to a meeting.

The story blew up on racist forums, garnering hundreds of comments condemning the racialized students as racists. Death threats were sent to their personal social media accounts and emails, including ominous "you're on our list" emails and dumbass V for Vendetta references. The white students, who were in first-year journalism and went solely to write about the deep shit the support group needed to share, received no backlash; instead, they got even more opportunities to speak to press. Assholes online seemed to gloss over the fact that the collective ran events including white allies. This was the one time per month racialized students could speak freely about racism in their lives in a space where they wouldn't have to worry what white people would think.

Aside from meeting places, the basic right for a student to go to the bathroom safely is largely ignored by Canadian universities. Only a handful have permanent gender-neutral washrooms. The building the conference took place in didn't have any either, despite lobbying from trans students—con-goers had to make due with paper signs slapped over gendered ones, reclaiming pissing grounds as their own for the weekend.

So why aren't universities committing to physical safety for their most vulnerable students? For Sidney Drmay, a CUQSC organizer, universities see students only in terms of financial gain, and get confused when students identities are complex.

"Universities are always very excited to support one idea, but as soon as intersectional identities come into play there seems to be confusion," Drmay said. "They start to insist that there has to be a hierarchy of identity and you have to decide which one is the most important to you."

For students whose identities are invisible, this often means erasure. Which sucks. University is supposed to mean freedom from the human cesspool that is the 3D high school closet experience, starring queer and trans kids getting the shit beat out of them. And if they went to high schools with no GSAs or sexual/gender diversity resources, they got the director's cut: they would be more at risk to think or attempt suicide. University shouldn't be the direct-to-systemic-oppression sequel no one asked for.

Swapping stories on traumatic experiences might not seem like a weekend getaway, but for con-goers, especially those from rural parts of the country without access to face-to-face peer support, organizing like CUQSC is one of the few instances they can talk to someone who's been through the hurt they've been through.

Giving as many students a chance to experience that is why the conference changes host university every year. The next CUQSC's heading over to Dalhousie University in Nova Scotia, where gendered violence has gone hand in hand with post-secondary education.

"Between Rehteah Parsons, the SMU [Saint Mary's University] rape chants, and Dalhousie's dentistry scandal, Nova Scotia's really been put on the map for issues of rape culture, homophobia, and systemic misogyny," said John Hutton, VP Academic & External of the Dalhousie Student Union. "Student action is essential for creating safer campuses and communities. That's why we wanted to host CUQSC, and look forward to bringing students together to tackle these issues head-on."

Albeit temporary, the act of transforming an entire building into a safe space for four days had lasting effects: support groups and newfound allies were made on Facebook. Shots of grinning students piling into yellow school buses and heading to a queer prom social were posted on Instagram and Tumblr. There's yet to be an inter-campus movement for safe spaces, but if anyone's going to start it, students will.

"Student organizing works. It's the beginning of many campaigns and ideas. For me it is necessary for survival," Drmay said.

You can yell at Al on Twitter

Your Mom and Dad Got More P and V Than You, Statistics Say

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These people had so much more sex than you. Photo via Flickr user Zanshin Art

Millennials are the suckers of the modern world once again. Even though we're more open to casual sex and "hookups," we have fewer sexual partners and are losing it later than our parents did, according to a new study.

Could it be that our parents were that much cooler and more attractive than us? Or have we not been properly educated on how to fuck each other nowadays? (If you want to learn the art of how to fuck a Millennial, check out it out here.) The report's author, Jean Twenge, also wrote the book Generation Me: Why Today's Young Americans Are More Confident, Assertive, Entitled—And More Miserable Than Ever Before. If we're the most miserable generation, maybe we're just sad that our parents had more game than us.

The study, which was conducted by the University of San Diego, explores trends during the sexy years between 1972 and 2012. We're talking bell bottoms to skinny jeans, Michael Jackson to Justin Bieber. It compares the sexual habits of 18-to 29-years-olds of the Greatest Generation, Boomers, and Generation X to the youth of today.

The Greatest Generation had an average of two partners—these are most likely our prudish grandparents who had to climb the hill both ways and were too tired to bang after that. Boomers had 11 partners, and Gen-X had ten partners, but Millennials drop down to about eight partners, a full two fewer fuck buddies, booty calls, or lovers than those before us.

Yet, the 12-year study of about 33,000 people also shows that we're more accepting of premarital sex.

The data shows that 47 percent of Boomers in the early '70s believed premarital sex was ''not wrong at all." When it came to Gen X, 50 percent of the same age group thought that premarital sex wasn't wrong in the early '90s. In the 2010s, 62 percent of young people believe premarital banging is just fine.

So we're cool with having sex before marriage, but we're talking the talk without walking the walk (or fucking the fuck). But we shouldn't be totally disappointed in ourselves because there are plenty of theories for why this is. I'm sure you can all think of why you aren't boning someone right this second.

Twenge believes that one of the main reasons is that we're more educated in the dangers of STDs, and maybe even the dangers of the world around us.

"It could be caution, that's one possible theory. That Millennials are the first generation to be put into car seats and be told they can't walk to school and maybe that caution is extending to their sexual lives as adults," she said.

One minute you're scared to cross the street alone, and the next you're faced with real, live genitalia and don't know what to do: I hear ya. The fear of STDs is also seemingly alive and well, although HIV seems to no longer be the death sentence it was for Boomers. But it didn't stop Gen X from getting it on and it definitely won't stop us. In fact, it was the generation that saw the HIV epidemic that had the highest number of partners. Millennials should find it possible to be safe and healthy sexually while actually having sex.

One reason could be that we're generally more self-conscious of our "number," as in: "I just met this HOT guy on Tinder but I think I should just ask Mark to hang out tonight, I don't need to make my kill list any longer than it is." The social phenomena of slut shaming could be having an effect on our sex lives, and that isn't chill.

Sticking to our friend groups to fulfill our sexual needs could possibly be leading to a result of fewer partners.

"The decline in sexual partners, the rise in friends or acquaintances with benefits might be rooted in a lack of trust in others," Twenge said.

So, maybe we just aren't as trusting as our wild, libido-driven parents were, to let new people bang us on a whim or take our flower in the first place.

That both does and doesn't contradict other findings, as Twenge also looked at casual sex rates among the surveys. In the study, 35 percent (44 percent of men, 19 percent of women) of Gen X'ers had casual sex compared to 45 percent (55 percent of men, 31 percent of women) of Millennials in the 2010s. This could translate to meaning we are having as much—if not more sex than our parents, but with fewer people.

"It does suggest that Boomers had just as much as a hookup culture and maybe they didn't call it that, it was probably just called casual sex back then, or swinging," said Twenge.

You heard it here first folks, our parents were probably hooking up the same way we do. Gross.

It's possible that our lack of partners could be that we simply got picky, or maybe there's more to it. This might have nothing to do with morality, because Millennials are inherently immoral people. Personally, I'm just too busy to be getting it on or even meeting new people I would want to screw. I'm busy trying to get into school, to get a degree, to get a job, to get a house, and maybe then make time to have sex to have some kids. For many of us, it just makes sense to stick with what you know, and with what's available. So call your Friend With Benefits—Hey Mark, what're you up to tonight? Want to watch a movie?—tonight AGAIN if you're in the mood.

But Twenge was quick to correct me on the FWB concept. According to the data, it appears that acquaintances are having more sex than friends are.

"That went from 31 percent in 2005 to 41 percent in 2010 so maybe 'Acquaintance With Benefits' instead," she told me. "Maybe the idea of Friends With Benefits is that it's not close friends, that it's people who you know. They aren't close friends but people in your group."

The real questions is, will future generations see the decline of FWB? Maybe Millennials should start accepting the term AWB as a more common thing.

The rise of casual sex with non-committed partners could be also be explained by the changing social norms, do we simply not give a shit about marriage anymore? Marriage is no longer the sacred institution it was half a century years ago (shocker). About one in five people in their 50s are divorced in Canada. C'mon Gen-X!

Twenge reports that the marriage rate has reached a 93-year low and the average marriage age has risen. In the '70s, men and women were averaging marriage at 22-years-old, but by 2011 Canadians were averaging at close to 30 years old. That's pretty old, and that leaves a lot of years to be having premarital sex compared to before.

It's no secret that we're living in an over-sexualized world surrounded by advertisements promoting being sexy and technology that promotes a "hookup culture" among the younger masses. Online dating has been more popular and less stigmatized than ever, and I don't doubt that we stare at screens of people having sex more than we are having it in real life.

"I mean it's most interesting with apps like Tinder and other hook up apps, you'd think maybe this number would be higher," noted Twenge. "But I don't know, maybe it's that you're seeing everybody on a phone just saying 'no, no, no, no,' who knows maybe that's one of the reason the number are lower."

Twenge believes Millennials have allowed technology to replace some experiences online rather than in person. When things like virtual reality become a household item, who knows what introverted teens we will spawn.

As for the future, Twenge said it's hard to tell where these numbers will continue to grow. While she thinks attitudes towards premarital sex, and homosexual sex will continue to become more accepted, there's no way to determine if our children's number of partners will be higher or lower than ours.

With all the debate around sexual education and exposing the children to such "vile" subjects, it seems the kids aren't that bad compared to those before them. Unsurprisingly, the generation up in arms about our generation's sexual lives was having sex, too (and with more people). To the Boomers and Gen-Xers of the world today, I just want to tell you that some of us Millennials, will still chose to wait until marriage or only chose to bang our partners. But there will be many who will continue to fuck spontaneously, continue to hook up, and Call Mark, Stacey, Tim, Mandy or whoever it is we hit up for that booty call. Whatever our decision is, just remember: you aren't ones to judge us.

Follow Sierra Bein on Twitter

This Journalist Was Thrown in Prison by Porn-Obsessed Torturers for Reporting on the Iranian Election

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Maziar Bahari.

Maziar Bahari's journey from solitary confinement in Iran's most notorious prison to exile to cracking jokes with Jon Stewart on The Daily Show is an unlikely one. In 2009, the London-based Bahari was in Tehran to cover that year's presidential elections for Newsweek and Panorama. After Mahmoud Ahmadinejad's unconvincingly large victory over the reformist Mir-Hossein Mousavi was alleged to be based on "irregularities" (Ahmedinejad was accused of everything from ballot stuffing to torching his rival's campaign office), the country erupted in its largest spasm of street protest since 1979. The protests turned violent (which Bahari blames on agents provocateurs), and the Iranian regime embarked on a major clampdown, shooting dozens and arresting thousands, as well as placing major restrictions on both domestic and foreign media. Ten days after the election, they came for Bahari and accused him of being a Western spy.

Weirdly, a key piece of evidence they used was Bahari's part in a Daily Show gag where he talked to a "correspondent" decked out in spoof CIA gear pretending to be a dumb Yank asking stuff about why Iran is so "evil." The regime had taken, or was choosing to take, the satire as reality.

Bahari's story gained international attention when Jon Stewart's film based on his ordeal, Rosewater, was released last year in the US. The film hit theaters in the UK last Friday, so I spoke to Bahari at a hotel in London.

VICE: What were you doing immediately before you were arrested?
Maziar Bahari: I had been covering a very violent day of protest on the 20th of June 2009, and I was really tired at the end of the day, so I thought I should have a few glasses of whiskey to go to sleep—I'd brought some illegal whiskey with me. I took a few glasses, and I went and had a very deep sleep. I was somehow woken up by this mixture of sweat and rosewater smell, and I didn't know what was going on. I was staying with my mother at the time, and she said, "You have a guest—these men are here to take you away."

Did you get the full gestapo treatment?
They were very harsh, but relatively polite. I thought they would be more impolite. As soon as I protested even a little bit, the guy who was leading the team said, "OK, sit down and stop talking shit." It's quite mundane, it's quite institutional. People are arrested very peacefully usually—there's no kicking or beating unless you resist. I thought I was innocent and that I could prove my innocence instantly, so there was no resistance.

What was your interrogation like?
It was surreal. They have this surreal fascination with sex. The way they see Western culture is mainly through pornography, and I think sometimes they confuse it with documentaries. They think in the West everyone has sex with the delivery guy or the milkman. For them, my relationship with my colleagues had to be in the context of having sex with them. They kept asking if I'd had sex with people I interviewed. It's not only my experience—everyone who comes out of Iranian prison says the same thing. I think Dr. Freud would have a field day with the Iranian government.

How long did they hold you for?
I remember when I got into prison, I thought I would get out in a week and write an article about my week in an Iranian prison. Then it became two weeks, then three, and then 107 days.

Related: Watch our video about a journalist getting kidnapped by a Columbian Guerrilla Army:

Why do you think they arrested you?
They don't think that a democratic system works differently than in Iran. They control most of the media in Iran, TV and newspapers and news agencies, and don't get that Western media is independent. I had an interview with somebody named Nicholas Burns who was a spokesperson for the US government during the Clinton years. Burns went to Harvard and wrote an article for Newsweek, so they made up this chain of connection between me and the US government. They add one and one and one and one and get 1,111, not four. They don't grasp the differences in the systems.

Were you tortured?
I was in solitary confinement for 107 days. It's standard operating procedure. Whenever I tell people, they ask me if I was also tortured. I find the question redundant, because that is the worst kind of torture. There were beatings, sure, but if you put physical pressure on people, it puts people into a nirvana kind of place where they can find extra strength in themselves. But if you're in solitary, you can be manipulated and become confused and become suicidal at times. You just lose control. I had nothing to do in prison, I asked for books and they gave me the Qur'an and a prayer book and that was it.

That's surprising—we have this image of these prisons as like medieval dungeons.
What I realized eventually was that when they arrested me, it was the worst point for the government and they were scared and paranoid, and they got physical. They don't get physical with that many people, but I was at the wrong place in the wrong time, so they were showing their frustration by beating me. I talk to a lot of people who've been in prison, and most don't get much, but some get far worse and are tortured physically. People get bottles up their asses, raped, that kind of thing—these are anomalies, because you can't sustain it. In Iran they have psychological torture because they can sustain it. It's been sustainable for 30, 35 years now.

What kind of relationship did you have with your interrogators?
My main interrogator, I could see a sliver through the blindfold, so I could see what kind of shoes they were wearing. That said a lot. They were wearing slippers most of the time, brown slippers, sleek and brown, but other guys were wearing dirty plastic slippers. But also the kind of words they were using, the kind of language they were using, that showed me what kind of people they were—these weren't the cleverest of the bunch. They realized I wasn't going to confess, and they didn't know what I was going to do, and my conversations with my interrogator just became surreal. We talked about massages and things like that. He was telling me stories about his life as well.

When you were eventually released—after an international campaign that roped in Hillary Clinton—how did it feel to go into exile?
It was difficult to leave the country—I knew it would be a long life in exile. My mother was crying, and I knew I couldn't go back for a long time. I've been sentenced to 16 and a half years and 74 lashes in absentia, but I don't take it seriously. I accept I can't go back to Iran.

With Iran moving toward greater cooperation with the West, what future do you think the regime has?
It's here to stay for a while, but there will be some sort of change. The situation isn't tenable economically or politically. I don't really think regime change is that important—it's about changes in the people—the people who support the regime and keep it in power. It works both ways, too. Many people in Iran think of Western democracy as being just like porn movies, the way people in the West think Iranians ride camels. I think ignorance is universal, and I don't know how that can be helped other than by promoting the free flow of information.

Follow Andrew on Twitter.

VICE Vs Video Games: The Devolution Solution: How One Indie Publisher Is Changing Gaming for the Better

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Niklas Åkerblad's artwork from 'Hotline Miami.'

This article originally appeared on VICE UK.

"They signed off their first email to us with 'boners for life'—which helped immensely," said Roll7's Tom Hegarty in his initial correspondence with publisher Devolver Digital.

Devolver Digital is a six-man, fiercely independent publisher founded in 2009 whose titles likely need very little introduction, but if you need a 101, here's Wikipedia's list of what they've put out. Less known perhaps are the Austin-based company's indie film production and distribution arms, and a recently announced soundtrack distribution deal with Laced Music to officially spread the banging chiptune gospel. Celebrated by the developers they work with for an experimental, humanist modus operandi—inviting comparisons to Sub Pop and creator-owned comic publisher Image—Devolver clearly doesn't see barriers between industries, but rather opportunities.

And they're blazing a trail for a new generation of medium-agnostic producers to follow as they go.

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The Devolver Digital logo—rapidly becoming a guarantee of originality on new indie releases

Underpinning everything are eccentric, eclectic tastes. To wit: the 2.5-D run'n'gunner Not a Hero; metaphysical spatial-puzzle game The Talos Principle (developed, weirdly, by the same team behind the Serious Sam franchise); insta-gib Shadow of the Colossus "demake" Titan Souls by Acid Nerve; the psychotropic Hotline Miami and its recent sequel replete with neon-drenched soundtrack; sci-fi survival strategy game Gods Will Be Watching; 2D skateboard rogue-like OlliOlli; motorbike-helmet-clad turn-based action-stealth-em-up Ronin... The list goes on (and gets increasingly surreal and entertaining to summarize). And that's just their games.

This diversity, combined with excellent merch (they're the exception that proves the rule) and their sardonic, debauched, supposedly fictional CFO Fork Parker, has imbued Devolver with a strong personality. It's something unusual for a publisher to command—can you imagine EA being self-referential, or Ubisoft sending out surreal, heavily tongue-in-cheek press releases? Not a chance. But even Devolver's own are quick to point out that their intentions were rather different from what they've become.

"The personality of Devolver has nothing to do with planning," explains company co-founder and CEO Graeme Struthers. "We are really terrible at planning! What you see is really is just a reflection of our beliefs. We have somehow managed to luck out and do things the way we always wanted to—and we have met so many talented artists who have trusted us to work with them. That's really what allows our little bandwagon to keep going forward."

Related: Watch our documentary on Magic: The Gathering:

Tom Hegarty of London indie studio Roll7 tells me that it's the faith that the publisher has in its creative partners that really makes the deal a sweet one. "They put 100 percent trust in the developer," he says. "Devolver have given us huge creative freedom." Hegarty also confirms the existence of "the Devolver factor" in modern indie gaming: "We saw the power of the Devolver brand as a massive plus point—they help us get the Roll7 name out there way more than we could on our own."

But if no actual planning goes into Devolver's presentation of themselves as a force for good in the gaming industry, what does bind the titles they choose to publish together? On a surface level, you can look to the art of each release and conclude that they've a love of pixels. Their releases also tend to have amazing soundtracks, feature jaw-grindingly difficulty levels, and can arrive bearing bucket-loads of satirical ultra-violence. For Struthers, that games-bonding glue is easy to define: "Do we want to play it? Do we think the people behind the game are going to enjoy being part of our wee thing, and can we all enjoy the journey from the idea to the reality?"

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A screenshot from 'Gods Will Be Watching'

This sentiment is one echoed by visionary publishers in any medium, those who stick to their integrity however much it blinds them to risk. Speaking of which, whereas music, literature, and film are struggling with piracy and the strangleholds of iTunes and Amazon, Valve's Steam store really levels the gaming playing field. It means that, as Struther tells me, "niche is no longer any kind of barrier—you always have a chance of finding the people who will fall in love with Gods Will Be Watching, Always Sometimes Monsters, or Hatoful Boyfriend." As Devolver expands further, into film and beyond, their partnerships with the likes of Laced will be crucial in maintaining this human-centric vision.

Why now, though, for this link up between games and music? "I guess we have a generation of musicians who grew up playing games and love the culture of gaming, and are now being let loose in the indie scene," Struthers summarizes. "It's great to see music is high on the list of priorities among all the teams we work with."

It's a prescient point that Devolver is well poised to capitalize on, with the added benefit of providing a more dedicated platform for the new wave of game-music composers. Still, is there any danger of them running afoul of the issues that the music and film industries are currently mired in, awash in a Tidal wave of ineptitude and moral depravity?

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A screen shot from 'Hatoful Boyfriend.'

"I don't know much about how those [other] industries work," Struthers continues. "They seem overly complicated. In the end, you have an artist, an engaged audience, and a huge desire from that audience to be able to enjoy the artists work."

Struthers makes it sound so simple, and hell, it just might be. The games industry isn't perfect but it's growing, maturing, and unlike its cousins in film, music, and literature, there is unparalleled opportunity for indies and young talent to find and develop audiences. Perhaps that's why Devolver's gung-ho eclecticism, pseudo-political DIY marketing campaigns and transparency equate to an almost label-like personality. In typically self-effacing fashion however, Struthers counters: "We don't have a label identity—maybe that's who we are, people who just stay out of the way!"

So what's the most important thing the Devolver team has learned from their roots in games as they head towards pan-cultural domination? "It doesn't feel like the games industry—it feels like a culture," Struthers says. Perhaps for all our headlong rush into increasingly complex technology, what's most important is devolving and getting back to humanistic basics. The alternative is ending up like Fork Parker, whose "belief in money being the only way to truthfully value your life vs. other people is unshakable," and who just maybe exists to make sure nobody at Devolver can ever fill his gator-leather shoes.

Follow Danny on Twitter.

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