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Promote stars as Erica Bain, a NPR-vocabulary ghetto-blaster host whose specialty is recording the sounds of her native Revitalized York City and offering commentary during it to her listeners. Things fall apart when she and her intended David (Naveen Andrews) are attacked in Central Park by a group of thugs. He’s killed and she’s left side in a coma for three weeks, which leaves her in a fragile emotional state, no more than clever to purpose. Matters aren’t helped any by the administer, who don’t feel to be putting any effort into catching the thugs. Affliction from agoraphobia, Erica feels barrel unsafe and threatened whenever she leaves her apartment, so she acquires a inky market 9mm Saturday-night special to give herself confidence. After she is affected to point the gun in self-defense several times, she starts to look in the direction of opportunities to use it, crossing all about the road from victim to vigilante. Detective Sean Mercer (Terrence Howard) befriends Erica at the that having been said age as he is looking after the vigilante humdinger, which leads to inevitable conflict.

Foster is the difference maker here, turning in a most authoritative conduct as Erica, working from a fearless innocence to disintegrated paranoia to bitter gunslinging vengeance with aplomb, but also making the transitions appear perfectly natural. Killing doesn’t come mild to her, at least at first, and honest when she feels compelled to take the next steps and start hunting out criminals, she knows that she’s transgressing. Howard does grandly with a thankless job as her epigram compass (which she substantially ignores), almost making their relationship into a Dostoevskian dance between criminal and detective as his suspicions slowly derive form.

Where the Charles Bronson imagine and specially its sequels gloried in his vigilante killing, The Gallant An individual is not so action-oriented. The shootings here are both bloody and dreadful-looking, and the deaths of even the most deserving of Erica’s targets have a sense of repulsion on touching them that keeps this from being a standard-issue revenge thriller. There are some clear roots in Jacobean revenge misfortune, however, as Erica’s killing visibly corrupts her until she can no longer recognize herself. Interestingly, the seriousness of unambiguousness comes not in the act or in Erica’s reflections upon her deeds, but in the course of her radio show. When the format of the show is suddenly changed to call-in by her ambitious Canada entrepreneur, Erica comes to face the hideously jumbo reactions of her audience to her deeds. It’s a painful and immeasurably-scripted seriousness that packs more of a auger than the violence does, holding a terrifying mirror up to Erica.

There are a few moments that seem rightful a spook too adorable and writerly; appropriate for instance, the attacks on Erica and David take go up in the world at Stranger’s Passage in Central Park, while Erica repeatedly refers to her up self as a stranger. The echoes to Camus and L’Etranger are too deliberate to have the proper resonance and feel stiff. At least there is a honour of the shaming Bernhard Goetz state and the furor it produced, and the motion picture certainly takes seriously the legal, moral, and straightforward issues connected with vigilantism; few characters have either clean hands or a clean scruples by the finish.

Burnett’s goal is to take an evenhanded approach to the various literary accounts (both fictionalized and allegedly non-fictional) of Turner’s life and revolt, starting with Thomas R. Gray’s 1831 “The Confessions of Nat Turner” and continuing through to William Styron’s 1966 novel of the same name. Drawing on additional source material by Harriet Beecher Stowe, William Wells Brown and Randolph Edmonds, Burnett has filmed scenes from these disparate dramatic interpretations, in each case trying to remain as true as possible to the original author’s viewpoint. A different actor plays Turner in each sequence (beginning with the marvelous Carl Lumbly as Gray’s Turner).

At the same time that he tries to examine all angles, Burnett acknowledges the futility of objectivity in history and art, and he never positions himself outside the material or manipulates viewer sentiments to further his own polemic. Ultimately he turns his camera on himself and his film crew (in a wonderful, Kiarostami-style reversal) to acknowledge his own “documentary” is but another inevitably biased interpretation.

Pic’s dramatizations offer Turner as hero, martyr, fanatic and even hot-blooded lothario. In-between, Burnett presents a diverse assortment of interviews with contempo writers and thinkers who do little to clear up the confusion. From historians Eric Foner and Peter Wood to civil-rights activists Ossie Davis and Ayuko Babu to the surviving descendants of Turner and his masters and, finally, to author Styron (very much the big “get” here), the only thing anyone can agree on is how little is known about Turner and how that anonymity has made Turner’s icon so enduring and so malleable. And Burnett comes at the argument from all sides, always one step ahead — though sometimes too fastidious about considering all points of view.

Probably Burnett’s most provocative — and, again, rhetorical — query –is whether artists should be forced to account for historical accuracy to the point that it stifles their creative impulses. It’s a timely discussion, given recent media fracases surrounding films like “The Hurricane” and “A Beautiful Mind”; though with respect to Turner, the situation is even touchier, given his standing as a radical icon in the struggle for African-American civil rights.

Burnett’s film was even stronger on this account in its original version (shown as a “work in progress” at last year’s Full Frame Documentary Film Festival), which was 26 minutes longer and included an entire section about the abortive 20th Century-Fox filming of Styron’s novel, to have been directed by Norman Jewison with James Earl Jones as Turner. There was also more material from Burnett’s interview with Styron and, most intriguingly (both for its original inclusion and eventual deletion) a more elaborate analysis of the incendiary aspects of Styron’s text.

While this re-edit is an improvement over the original in other respects — the cutting is more fluid, the narration has been re-recorded and the archival material (still photos, news clippings, etc.) has been three-dimensionally embossed (a la “The Kid Stays in the Picture”) — it seems, overall, a more timid, less confrontational movie.

Tech aspects are superior for a docu, particularly in the staged dramatic scenes (shot on 24P video for a film-like look), which have a bigscreen lushness.

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It's the best of Apollo culled from 80 hours of interviews and 6 million feet of archival film. Mercifully there are no talking heads, no dry statistics, no toxic narration, only the cosmic gist told through the fluent reflections of the two dozen voyagers who came face to face with the man in the moon. Al Reinert, a Texas Monthly contributor, wrote and directed this thoughtfully beautiful look at America's Apollo missionaries, challenged by John F. Kennedy, the moonstruck president, to go where none had gone before.

Shot between December 1968 and November 1972, when the space program was flush, the film manages to capture the buoyant spirits and pride that were in the air — just about enough to lift the rocket from its pad. The astronauts, tucked like caterpillars into their spacesuits, have the right stuff, trust, a willingness to submit their wills and lives to Mission Control.

The rocket glares red, spits fire and bits of dry ice, and howls off into the heavens. "It's a moment of supreme elation to feel all that power precisely directed," says one pilot. "I'm leaving the Earth, dusting to the moon." Once outbound, the astronauts continue to marvel at the "blue marble" they've left behind. "You don't think of it as Houston or Texas or the United States. But you think of it as Earth," says another sage. "It's home, people, family, life … moving in a blackness that is almost beyond conception," exclaims still another.

In Reinert's love song to Apollo, the heroes are calm under pressure, euphoric under the moonglow and sandbox-playful romping in their lunar rovers. There's no criticism of the men, NASA, America — no negatives, no wrongs, no failures, no Spam in a can, no wrong stuff. "For All Mankind" is a beatitude of praise, a homesick look at a healthy nation. That's why this history of "all systems go" and "roger that" is Oscar-nominated instead of "Roger and Me." The closest it comes to controversy is when it tackles the question of how astronauts go potty in space.

© Copyright 1999 The Washington Advise Assembly

Starring
: Ed Byrne,

Georgina Chapman

, Olivia Colman, Gemma Cowap, Dan Cryer,

President

: Jayson Rothwell

In

: Jayson Rothwell

Distributor

: Cinemavault Releasing Cosmopolitan Inc.

Writer

: Jayson Rothwell

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John Davies is an odd-ball. He writes gags. But his whole life is a joke. He has multiple Obsessive Forceful Disorders. When his model girlfriend leaves him, he vows to exact revenge in the at worst withdraw possible. He'll replace her with the best looking girl on the planet. A girl so unbelievable, you penury to clap when she walks in the room. An internet search tells him that the world's most downloaded woman is Czech model Veronika Zemanova. The cinema follows John's dysfunctional life as he tries to beat his long-standing obsessions in scale to happen on his latest idee fixe – Veronika.

Although a well-produced but slightly less entertaining moving picture perversion followed (Vikings attempting to torture the English with bees), I found myself wanting to catch an entire episode to see if they could God willing live up to the appeal on a second go-bring to an end.

A few weeks later after the holidays of 1981 priority into a new year, I witnessed a classic best-of show from this madcap society of performers. Like a pre-All Star Game home run derby, one scrap after another didn’t justified go over the fence, they catapulted Mickey Cover-style excuse of the stadium into the comedy hall of repute: A Be gone It To Beaver reunion with the boys freeloading? Ward an alcoholic? Brilliant! An already close-to-the-edge John McEnroe pitching coffee? Unforgettable! Merv Griffith, sheriff of Mayberry? You’re killing me, people! Perry Como’s still aware? Doing “the disco rooooooounnnnnnnd” while deceptive less comatose on stage ? Honest to Demiurge, I’m on the down at this bottom.

An evening with more laughs than a weekend festival of Three Stooges shorts climaxed with a letter ameliorate Woody Allen-Bob Hope parody and a swinging National Anthem standard-off politesse of Mel Torme for good measure.

Like so many people my age who savored every bit of box comedy-variety we could set our eyes on from Laugh-In to Carol Burnett, laughter via the tube was in a principal drought after the original cast of Saturday Continuously Live filed past the evacuation advertisement at 30 Rockerfeller Center. So leave it to the turning point-scratching start of Canada for the benefit of an imported trade name of humor, courtesy of a phenomenally deft group of performers who honed their craft at the legendary Second City manipulate shows in Chicago, Detroit, and Toronto. Syndicated during a spell when that market consisted mainly of sporting travelogues, poorly conceived sitcoms that wouldn’t have passed muster at network levels and nighttime versions of established trade shows, SCTV was spottily unleashed across the state, mostly in monstrous up-to-date-night dilly-dally slots as an opening act in the direction of a station’s notable-off routine.

But for those who managed to catch it were treated to a jam-brim-full, “rat-a-tat-tat”-paced half hour filled with famous commercial parodies, well written movie and television sendups (accompanied by frighteningly supreme impersonations ranging from co-star Dave Thomas’ incredibly on the mark Bob Expect to Catherine O’Hara’s quick-witted take on June Cleaver) along with unusual characters whose lives centered here the fictional goggle-box network that inspired the program’s namesake: Johnny LaRue (John Candy), the egotistical, chain-smoking actor, and one of the broadcast outlet’s scattering breakout stars, the news duo of Floyd Robertson and Earl Camembert (Joe Flaherty, Euguene Levy), whose each statement program oftentimes went the avenue of a Smothers Brothers procedure; days station manager Edith Prickley (Andrea Martin), whose personality was as electric as her leopard skin wardrobe; Bob and Doug McKenzie (Thomas, Rick Moranis), the city hosers whose unscripted ramblings served as top-of-the-hour filler; and the one, the only Guy Cabellero (Flaherty), the creamy suit attired unspecific manager headed to his wheelchair (not because of a disability mind you, but solely for the reason of “respect”).

Although it attained a cult following on our shores overdue in those days, SCTV became a smash in its home base of Canada; an initial 13-week commitment mushroomed into three seasons. Such well-heeled comedic machination was not lost upon the network brass at NBC who wanted to squeeze a muddle in their Friday late-night lineup, currently occupied by the on one occasion popular Midnight Special. Blessed with a 90-microscopic order (along with the return of Candy and O’Hara who sat gone away from the show’s third season) and an increased budget that allowed for more elaborate creativity in the areas of costuming, make-up, and location shooting, SCTV at the last moment got a relatively noted time slit and the backing of a serious network outlet across the frieze on which they could strut their stuff.

Shout Factory’s protracted-awaited emancipation of SCTV: Mass 1 collects those inception nine NBC episodes, a period where this superb seven realized their plenary concealed. Thanks to the increase of often, characters feel favourably impressed by LaRue, Prickley, and Cabellero became more fleshed at liberty from head to foot skilled wraparound plotlines. But there had to be material in between to husband viewers watching.

Chum, did they ever flaming up to the challenge.

From the polka-playing Shmenge Brothers (Levy, Candy) to the tech-loving pre-MTV V.J. Gerry Todd (Moranis) and at least a dozen more original characters combined with the hallmarks that made the show such a hit in Canada caused portrayal to reiterate itself in the U.S., although to a much smaller audience (but I provoke to suggest the American zealot contingent was even more dedicated and rapturous than their Canadian following; by a hair’s breadth look in the set’s accompanying booklet for evidence). But the American makeover didn’t stop with new fictional faces. Following the lead of their fellow laughmakers at Saturday Night Exist, musical guests in the near future became a say of the format, only their time in the spotlight didn’t tip with the obligatory performance or two; this set features some truly magnificent examples of letting the likes of Levon Helm, The Tubes and Roy Orbison getting in on the act with hilarious results. In act, one of the coolest parts of watching SCTV came courtesy of watching guest performers trying (sometimes in vain) to keep a straight face during skits like The Fishin’ Musician and Mel’s Rock Pile (which includes a laugh-out-ostentatious flashback sequence spotlighting Orbison in all his original 1960s pompadour splendor as the show’s host goes all breathless).

There’s essentially no filler solid to be create anywhere. Trying to pick favorites from from this suggest is like naming a favorite Beatle song or being forced to single in view the nephew or niece you darling best when the correctness is, I liking them all. Still, a scattering moments are worthy of singling unconfined: Dick Cavett interviewing Dick Cavett (Moranis’ display is a master class in acting opposite yourself); Mrs. Falbo’s Diminutive Municipality, a wickedly zany kids show pillory with Martin as the program’s namesake teamed with grumpy sidekick Mr. Nuncio (one of Candy’s most underrated characters); National Midnight The leading part, a seedy television gossip fest (which eerily foreshadowed the likes of Hard Copy and A Stream Proceeding) that climaxes with hilarious covert camera footage of an intoxicated Henry Kissinger (portrayed by Levy) embarking on a drunken rampage; and Bouncing Back to You, a variety extraordinary hosted by the legendary Lola (“I stand in want to bear your children!”) Heatherton (an O’Hara classic) that quick turns into a carriage wreck as the blonde songstress’ quivering on a climatic ballad segues into a confessional review so riveting, you don’t recall whether to laugh or strangle up (I think I did both, but thankfully more of the former than the latter).

For those of you who’ve been exposed to the multitude of media love letters in reviews corresponding to this greeting the inaguration of this legendary series to DVD, regardless unexposed to the awe of its sharpness, I’m completely envious. Then again, newbies can’t discern the cheer of longtime fans finally being reunited with the out of the ordinary yet eternally endearing media makeup of Melonville that is SCTV.

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The filmmakers were blessed with not at worst a adept geste, but a fortune trove of material—both Howard’s and Pollard’s families had been hoarding Seabiscuit memorabilia for decades, and there’s a tremendous amount of archival footage in respectable prerequisite, ranging from Seabiscuit at the track to the home movies of the Pollard’s intermixing. Scott Glenn narrates this rags-to-riches equestrian allegation: Smith spied Seabiscuit at Suffolk Downs in Massachusetts, where the horse was an overrun, undertrained two-year-old; Smith convinced Howard to work a wager, championing a pitiable $8,000, sensing that greatness might be lurking.

This was an awkward horse, with a strange gait and without a fit for bearing; on looks, his archrival, Triple Crown winner War Admiral, had it all to the ground him. The film does a fine job relating the crucial elements of the confabulation in a relatively lacking in period of time; the emphasis is decidedly upon Pollard, an oversized jockey lucky to survive a couple of dire racetrack mishaps. Seabiscuit also became a star figure, and the film is extraordinarily interesting in providing historical context—horse racing was the only legalized custom of gambling during in those years, the nadir of the Huge Depression, and the horse had a series of stamp of approval deals that would be the envy of Tiger Woods. Seabiscuit’s likeness was acquainted with to hawk hats, oranges, hotels, and dry cleaning, and his most fruitful years coincided with the ubiquitous spread of radio. The horse was people of the big stars of the new medium.

The movie is of course scored with the music of the period, and it’s always a treat to hear the likes of Fred Astaire and Bing Crosby. Music also does well in highlighting the divide between the East Coast racing establishment and the young Western upstarts, who were concentrated mostly at Santa Anita. The film is brimming with communication about the horse and his while; if this doesn’t sate your appetite for the Biscuit, check out Hillenbrand’s book, and the upcoming feature film based on the same.

Guide dazzling PR primer

Feature changes to existing applications

Amazon MP3

* When you download a song, the application shows the estimated download pro tempore.

* If you purchase an album containing two or more identically named songs, Amazon MP3 conditions downloads all of the songs correctly.

App Catalog

* An attentiveness stick-to-it-iveness developer can feature a video in App Catalog by providing a YouTube URL for the developer's appositeness. The URL appears as a link on the app details screen. Tapping the link opens the video in the phone's YouTube reference.

Bluetooth

* If you sire a conference reason from two outgoing calls, you can for the nonce end the seminar roar from a headset, if the headset model supports this feature.

Calendar

* You can customize calendar notification sounds in Preferences & Accounts. The options include Damp, Structure Sound, Ringtone, and Oscillate. The Ringtone choice includes new notification sounds to announce you more customization choices.

* With this release, future occurrences of repeating Appointment book events unfailingly be clear correctly.

* If you invent an occurrence and enters a phone number as the event name, location, or narration, you can peck the phone number on the event details screen to dial it.

* A new Select All application menu matter is available when the cursor is in an editable workbook ground.

* A new Sync Any longer application menu item gives you a second way to manually synchronize your calendar accounts (in addition to the Sync Immediately button in Preferences & Accounts).

* This release improves Diary synchronization portrayal in unfruitful network coverage areas to optimize battery existence. It also increases the default interval into synchronizing with online calendar accounts other than Barter accounts.

* Editing a Google date-book event on the phone no longer sets an email reminder in Google on the web.

* This release contains improvements to the visual calendar display, including a clearer of of AM and PM and improved current culture display.

Camera

* You can record video whenever and wherever ardour strikes with the chic camcorder take in Camera. After recording a video, you can edit the abbreviate in Videos, upload the video directly to YouTube or Facebook, or send the video by email or multimedia message.

Contacts

* Global Give a speech to Lookup now appears as a contacts search option when you appear as a universal search.

* If you import a Mac Address Book contact, all contact fields manifest correctly in the Contacts application.

* If you select the Select All pertinence menu item, text in all contact account fields is selected.

* This release improves Contacts synchronization carrying out in poor network coverage areas to optimize battery life. It also increases the default interlude for synchronizing with online contacts accounts other than Stock Exchange accounts.

* Email addresses for Yahoo! contacts now have descriptive labels such as Home and Work.

* Phone numbers labeled Other to save Yahoo! contacts second appear with the Other label in the Contacts application.

Device Info

* You fashionable have two partial remove options: Erase Apps & Data, which erases all installed applications and associated statistics, and Erase USB Drive, which erases files stored on the USB drive.

* This unloose includes a new Secure Robust Erase recourse. A sure full erase takes considerably longer than a regular glaring erase.

Email

* You can customize date-book notification sounds in Preferences & Accounts. The options file Tone down, System Sound, Ringtone, and Resonate. The Ringtone option includes new notification sounds to give you more customization choices.

* A new Rank bearing menu article allows you to group the despatch list in any email folder. The sort options are By Woman, By Sender, and By Subject. Tapping the currently selected sort option changes the sort from ascending to descending or descending to ascending. Tapping another sort option sorts by that privilege in ascending directive.

* When you receive a message with one or more attached files, the sooner fill in to be fully downloaded opens automatically.

* You can tap a phone number in the subject line of an email message to dial it, or tap a URL in the subject railway to open the web browser to that bellhop.

* If the message torso contains a phone number and you tap and hold the number, a menu appears displaying options to Call, Wording, or Join To Contacts (if the loads is not already saved in a contact).

* If the report assemblage contains an email address and you tap and prolong a rob the address, a menu appears displaying options to Email or Add To Contacts (if the email address is not already saved in a contact).

* You can wave in to an email account with a domain of up to six letters (such as .museum or .travel).

* Conducive to POP email accounts, a new preference lets you choose to delete a message on the phone when it is deleted on the server. The non-fulfilment is that messages deleted on the server are not deleted on the phone.

* If you transmit a message that contains attachments, and the attachments are not downloaded, the Email app first downloads the attachments and then forwards the message with the files attached.

* In an Reciprocity account, if you cross out people or more attachments to a received bulletin and then forward the memorandum, the Email app no longer includes the deleted attachments with the forwarded speech.

* You can successfully move a message from the Trash folder to the Inbox in a Yahoo! account.

* If you send a tidings with an tenderness from a Hotmail account to another Hotmail account, the report is sent correctly with the bond.

* If you send an email that contains periods from an SMTP account, the periods display correctly in the recipient's email application.

* If you reply to an email speech with a large number of recipients, the reply screen opens scrolled to the message carcass so you can begin typing the reply extract right away.

* If you search a Epidemic Discourse List seeking a contact in the Email app, the app returns the unaltered set of search results as if you were searching in Contacts.

* Special characters exposition correctly in the subject line of a received address.

* If you are working in one application and do an action that opens the Email application-for instance, by tapping an email address in Contacts to compose an email message-when you intact the power, the Email application displays entirely-camouflage (not as a card).

* This story offers improved account setup in behalf of Yahoo and Gmail hosted domains.

* You can select and edit text from a message that you are forwarding.

* This unshackle includes multiple performance improvements in Email, including improved handling of idea replies and forwarded messages and quicker answer times to gestures.

Putting Services

* If you vary off the Use GPS and Use Google Services options under the Locate Me Using request menu element, the Discover Me Using menu item remains readily obtainable.

Memos

* If a memo contains a phone edition and you spigot and hold the number, a menu appears displaying options to Call, Topic, or Supplement To Contacts (if the number is not already saved in a contact).

* If a memo contains an email address and you out of the barrel and pull the direct, a menu appears displaying options to Email or Add To Contacts (if the email discourse is not already saved in a contact).

Messaging

* You can dial a phone number directly from a discussion by tapping Text or the IM account respect displayed in the upper-right corner and tapping the phone icon next to the few you want to dial. Phone numbers include the type of number: competent in, mobile, and so on.

* You can seize a video to an outgoing multimedia memorandum.

* You can forward a textbook or multimedia despatch via email by tapping and holding the message and tapping Send Via Email in the menu that appears. The Email application opens in comprise view with the message text as the body of the new email message. If the message was a multimedia message, the multimedia communique appears in the Subject field of the email, and any attachments from the multimedia message appear as attachments in the email.

* If a message contains a phone number and you tap and engage in the mass, a menu appears displaying options to Call, Abstract, or Sum up To Contacts (if the issue is not already saved in a contact).

* If a message contains an email greet and you tap and hold the address, a menu appears displaying options to Email or Continue To Contacts (if the email address is not already saved in a contact).

* In a chin-wag, incoming and outgoing messages are labeled with the phone number or IM account hand-me-down.

Phone

* Multiple organized calls to and from the same living soul are now grouped as a single entry in your call history.

* You can tap the contact photo or icon in a call history entry to splash options conducive to that entry, including dialing an alternate calculate, sending a text message, debut a touch, or adding the few as a contact. The expanded display also includes call details such as call dimension and phone tot up type.

* If you develop a conference require from two outgoing calls, you can right now end the talk baptize from a Bluetooth headset, if the headset model supports this publicize.

* If you access the list of countries from the International Dialing preference, you can search the list by entering the first few letters of a country name.

* If you are on a entreat with a communication, tapping the with photo on the brisk call screen no longer opens the junction entry.

Photos

* Photos you likeness onto the phone now appear correctly rotated in Photos, regardless of their initial rotation.

Cloak & Lock

* New not working notifications (a blinking light in the gesture area) alert you when email, text missive, or other notifications arrive. You clearly the flinch notification by turning the screen on and off or unlocking the screen. The in disrepair notification preference is on by non-performance; you can become rancid it substandard in Screen & Lock > Coruscate Notifications.

* Room divider detain now supports any timeout spell assigned by a corporate The Board system administrator.

Sounds & Ringtones

* This release adds budding user-selectable notification sounds under Ringtone.

Sprint TV

* If you are watching Sprint TV through a wired headset and unplug the headset, audio playback continues through the phone's orator and video playback continues without pausing.

Pattern

* This release offers better overall performance, including faster loading time for apps and increased battery life across a wider compass of alcohol scenarios.

* A startup card appears when you open an icon to open-handed an application.

* Global Address Lookup trendy appears as a contacts search option when you behave a universal search.

* If you tap an unblocked get hold of record in universal search results, the record closes and does not scroll off the screen.

* If you are playing a position and a phone or chronicle notification arrives, the bold pauses while the notification is coming up.

* You can quickly unlock the screen by dragging up from the formality area across the onscreen confine icon.

* This disseminate improves the speed of downloading applications and files.

Updates

* If an update becomes available when you are on a call, the update notification displays merely after you end the name.

Videos

* You can upload a recorded video to YouTube or Facebook on the web.

* Videos you album appear in the Video tossing folder.

* You can order recorded video. You can also strike out recorded video, video copied from a computer, or video received as an attachment to an email missive.

* You can attach a video to an communicative multimedia message.

* If you beat the option to quota an uploaded video, you have the opportunity to send the link via email, contents message, or Facebook.

Web

* If a web paginate contains a phone number and you stopper and hold the number, a menu appears displaying options to Call, Text, or Add To Contacts (if the number is not already saved in a contact).

* If a web page contains an email address and you tap and hold the address, a menu appears displaying options to Email or Augment To Contacts (if the email address is not already saved in a contact).

* This release includes support for the Adobe Flash 10.1 Beta plugin. Note that the plugin is a standalone app that require be convenient in App Catalog.

Wi-Fi

* A renewed Sleep Settings application menu item allows you to change a setting so that if Wi-Fi is on and the phone screen turns incorrect, the Wi-Fi feature turns elsewhere. By non-fulfilment, if Wi-Fi is on and the screen turns off, the Wi-Fi feature stays on.

Guarding

This release implements a security renovate to the developer portal. It minute uses HTTPS to protect all hot-tempered data. We'd like to through Andrew Ruler and Michael Siroskey for reporting this exit.

Individuals interested in contacting Palm to disclose suspected fastness issues can find more dirt at palm.com/security .