ISSUE #83
BEAM FROM THE BOOTH | GRAND RAPIDS FILM SOCIETY
[EDITED BY: GRIFFIN SHERIDAN & SPENCER EVERHART]
Hello and welcome back to an all-new, very special installment of BEAM FROM THE BOOTH brought to you by GRAND RAPIDS FILM SOCIETY!
Happy New Year, film fans! We hope you all had a great holiday season. The GRFS committee certainly did, and we cannot wait to see what this year has in store for all of us.
Speaking of, we kicked off our 2025 programming this past Friday with the first screening in our MICHAEL MANN-UARY series! Thanks to all of you who came out for Heat, and we hope to see you all at THIEF when we play it NEXT MONDAY (1/13).
But as one series begins, another must end. We hope you will all join us for the finale of our SEASONS OF BERGMAN series with WINTER LIGHT, TONIGHT (1/6) at 7pm. Find our own David Blakeslee’s foreword to the film further down!
And be sure to check out this video preview for our next series, MOVIES AT THE MUSEUM, which starts NEXT THURSDAY, JANUARY 16th, in partnership with the folks at Grand Rapids Art Museum.
COMING UP IN JANUARY 2025
JANUARY 6th: WINTER LIGHT
[SEASONS OF BERGMAN]
Released when Bergman was arguably at the pinnacle of his artistic prestige and influence in broader popular culture, Winter Light can be seen as an incredibly risky career move. The film probably does more than any other of his major works to feed into the reputation mentioned above of Bergman’s oeuvre as relentlessly bleak and trembling on the brink of utter despair. Taking place in the depths of a Scandinavian winter, the film introduces us to a small cast of characters, each burdened by hefty and unavoidable questions about the purpose and even value of their individual lives. At the center of this stark, minimalistic scenario is a minister propelled by duty to lead a worship service attended only by a scant few of his congregants even as he grapples with his own crisis of faith as he questions the validity of his beliefs and pastoral vows. His exchanges with a young man contemplating suicide in response to the threat of nuclear annihilation cut to the heart of similar concerns felt by many as we confront the uncertainties imposed by climate change. Winter Light has been cited by Paul Schrader as a source of inspiration to First Reformed (2017) and should be seen by all who appreciate that film, one I consider to be among the greatest of the 21st century.
JANUARY 13th: THIEF
[MICHAEL MANN-UARY]
A highly skilled jewel thief, Frank (James Caan) longs to leave his dangerous trade and settle down with his girlfriend, Jessie (Tuesday Weld). Eager to make one last big score in order to begin living a legitimate life, Frank reluctantly associates with Leo (Robert Prosky), a powerful gangster. Unfortunately for Frank, Leo wants to keep him in his employ, resulting in a tense showdown when he finally tries to give up his criminal activities once and for all.
JANUARY 14th: ROUGH CUT NIGHT
[FREE SOCIAL EVENT]
There’s no substitute for seeing your work on the big screen. We’ve all been there; the night of the premiere and spirits are high, but then you see that shot you would have held for a few more frames, the sound design you would have bumped a few more dB’s now that you can feel the bass in the theater.
So here’s what we’re offering:
We’re opening Wealthy’s Koning Micro-Cinema to screen any rough cut of a short film (or a scene or two of a feature) and provide a fresh audience for filmmakers to use to gauge where their film is at. For free.
While we have already filled reservations to screen work at the event, we are starting a waitlist for folks who can be on standby should anyone who has signed up is unable to attend. Join the waitlist by emailing your information to matt@snowyinaugust.com.
We encourage anyone in the community to attend and share their thoughts to help filmmakers shape their films!
JANUARY 16th: OPENING NIGHT
[MOVIES AT THE MUSEUM with the GRAM]
John Cassavetes’ Opening Night is an ode to his own ardent, chaotic creative process. The film follows Myrtle – a capricious, aging actress played by Gena Rowlands – who is thrust into a downward spiral when cast in a role that forces her to confront her age and perceived obsolescence. Cassavetes’ swirling, forceful directorial approach is penetrated by Rowland’s devastating and raw performance as a woman facing her professional and literal mortality. Critically panned at the time of its release, Opening Night has since been reevaluated as one of Cassavetes’ most impactful and poignant works.
JANUARY 19th: CHILDREN OF HEAVEN
[CHIAROSCURO INTERNATIONAL FILM SERIES]
When Ali loses his sister Zahra's school shoes, this young pair dream up a plan to stay out of trouble: they'll share his shoes and keep it a secret from their parents. But if they're going to successfully cover their tracks, Ali and Zahra must carefully watch their step on what rapidly turns into a funny and heartwarming adventure.
Films are shown in their original language with English subtitles. After each screening, a film scholar and a cultural representative lead a thought-provoking panel discussion, offering insights into the film's themes and cultural context. The experience continues with a casual reception featuring complimentary food and drink, creating an inviting space for conversation and connection.
JANUARY 23rd: CLEO FROM 5 TO 7
[MOVIES AT THE MUSEUM with the GRAM]
Agnès Varda’s Cléo from 5 to 7 follows its effervescent, titular heroine as she traipses around Paris, anxiously awaiting the results of a biopsy she fears might lead to her death or deformity. Cléo’s sparkling self-performance slowly matures over the course of an afternoon when her mundane interactions with her cosmopolitan friends and fellow Parisians are unexpectedly weighted with her anxiety for the future and the possibility of her own oblivion.
Varda’s second feature film showcases the signature motifs that would define her six-decade career: a formal intensity measured with an airy exuberance, a yielding attention toward the least expecting of her subjects, and above all, a love of life.
Once describing her own film as “a portrait of a woman painted onto a documentary of Paris,” Cléo encapsulates the spirit of the French New Wave: impossibly stylish and decidedly tender in the face of existential despair.
JANUARY 27th: COLLATERAL
[MICHAEL MANN-UARY]
After a long day, LA taxi driver Max is about to knock off when sharp-suited Vincent offers him $600 to make five stops. Sounds good until Vincent turns out to be a merciless hitman and each one of those stops involves a hit. As the night goes on, Max starts to wonder if he'll live to see the sunrise, as the pair are hunted by the police and the FBI.
JANUARY 31st: 62nd ANN ARBOR FILM FESTIVAL TOUR
The Ann Arbor Film Festival (AAFF) tour provides filmmakers the unique opportunity of having their work screened in front of audiences for whom, in many places, the tour venue is their only access to this form of film art. Each filmmaker participating in the AAFF tour is also paid for each tour stop, directly supporting their filmmaking. The AAFF is a pioneer of the traveling film festival tour which launched in 1964 with film screenings in Paris, Los Angeles, and Berkeley. Since that time, the AAFF tour has presented hundreds of influential works by film artists including Barbara Hammer, Gus Van Sant, Sally Cruikshank, Don Hertzfeldt, Bill Brown, Ross McLaren, Paul Winkler, James Duesing, Martha Colburn, and Jay Rosenblatt.
Free and open to the public, thanks to the support of Grand Rapids Public Library. To reserve your seat, RSVP Online
Arrive early to learn how to make your own 16mm film loops! With Pickle Fort Film Collective. Materials provided.
This program is a double feature presenting 2 blocks of shorts, with one brief intermission.
Program descriptions:
Program 1
Program 2
***
Tickets for all events— and more— are available now at GRFILM.ORG
Tell your friends. We hope to see you there!
A WINTER LIGHT FOREWORD
[BY: DAVID BLAKESLEE]
With New Year 2025 just barely underway, the Grand Rapids Film Society is about to conclude the longest-running series (chronologically) that we’ve programmed so far. Winter Light (1963) is the fourth and final installment in our “Seasons of Bergman” lineup that began last April with The Virgin Spring and continued with Smiles of a Summer Night in August followed by Autumn Sonata this past November. For those who’ve attended most or all of the previous screenings, I hope that you don’t require much persuasion to complete the set — especially since we’re ending with one of the Swedish auteur’s signature masterworks. But if you aren’t driven by a sense of compulsive duty or moral obligation to attend this evening and still need convincing, here are a few paragraphs that I hope will spark your curiosity to come out and join us!
First, a steady pitch has already been made in various GRFS-sponsored social media posts that this is close to essential viewing for anyone who appreciates Paul Schrader’s First Reformed (2018). I won’t press that case any further here other than to say that what Bergman provided as inspiration for Schrader’s homage-slash-pilfering 55 years later is served up in a rigorous 80-minute distillation that makes compact but profoundly incisive observations on the following topics:
Grief, Anxiety, Depression, Isolation, Doubt
Faith, Despair, Nihilism, Purpose, Propaganda
Xenophobia, Fear, Paranoia, Hypocrisy, Guilt
Pain, Suffering, Dedication, Devotion, Obsession
Contempt, Anguish, Perseverance, Indifference, Burnout, Pettiness
I trust that, for most readers, these are concerns that we can relate to and consider significant problems to manage as circumstances demand and time allows. While I can’t promise that Winter Light will provide clear and satisfying directions on what you personally should do about any of them, the film has a way of confronting viewers to take stock of their current situation and consider any adjustments we could make on our end that might help us sidestep some of the painful outcomes we see on screen. We may also recognize things we’ve done (or were done to us) that give insight into how we landed in similar situations. I’ve had a number of conversations with friends over the years that convince me of the film’s unusual power to crack open the blinders we’ve accepted and unsettle casually-accepted presumptions about how life is supposed to work.
I’ll have additional thoughts about the movie when I offer some opening comments prior to tonight’s screening, but I’ll save them for that occasion and wrap up this article with a few quotes I found from Bergman and his cinematographer Sven Nykvist as they reflected on their experiences making this film. Their statements give a sense of what they were aiming to communicate through Winter Light.
Ingmar Bergman: “The only thing worth writing about is man’s relationship with God, everything else is nonsense. He means that the only subject we can and should discuss in dramatic form is ethics — regardless of whether it is a comedy or tragedy. Our entire existence is, after all, built around the fact that there are things we may do and others that we may not do, and these are complications that we incessantly, during our whole lives, always come into contact with. This is the reality we are to reflect on and be reflected in.”
Bergman’s original vision for this project was (in his words) “to make a film about a solitary church on the plains of Uppland (eastern coast of Sweden). Someone goes into the church, locks himself in, goes up to the altar, and says: ‘God, I’m staying here until in one way or another You’ve proved to me You exist. This is going to be the end either of You or of me!’” Eventually, “the drama turned into something else: into something altogether tangible, something perfectly real, elementary, and self-evident.”
Sven Nykvist: “I believe that this film was a major turning point for me as a photographer, where I learnt the great importance of boiling it down, reducing all artificial light, all illogical lighting. Ingmar literally forced me to achieve 100 percent realistic lighting conditions... What Ingmar wanted was for the lighting ... to not show any tendencies to be attractive.”
Ingmar Bergman: “The close-up, the correctly illuminated, directed, and acted close-up of an actor is and remains the height of cinematography. There is nothing better. That incredibly strange and mysterious contact you can suddenly experience with another soul through an actor’s gaze. A sudden thought, blood that drains away or blood that pumps into the face, the trembling nostrils, the suddenly shiny complexion or mute silence, that is to me some of the most incredible and fascinating moments you will ever experience. Ingrid Thulin’s monologue in Winter Light is to me the essence of what I have done throughout my professional life, and it is done through a great actress in cooperation with a great actress.”
Bergman was unable to attend an early screening of Winter Light that was held as a charity fundraising event, so he sent this message to be read aloud to the audience in his absence:
“I once had a dream, or a vision, and I imagined that dream to be of importance to other people, so I wrote the manuscript and made the film. But it is not until the moment when my dream meets with your emotions and your minds that my shadows come to life.
It is your recognition that brings them to life. It is your indifference that kills them.
I hope that you will understand: that you, when you leave the cinema, will take with you an experience or a sudden thought —or maybe a question.
The efforts of my friends and myself have then not been in vain, and you give us courage to continue our often-difficult inward search, reaching for the power sources of the spirit — that which you cannot afford to lose.”
The candles are now lit...the elements have been prepared for your consumption. The service bells will soon ring out their invitation, calling you to join the communicants at the altar, where we will seek, and hopefully find collective illumination in the pale, unsparing glare of Winter Light.
ROAD TO THE OSCARS 2025
FROM FAIRYTALES TO BRUTALISTS: WHO WILL DOMINATE THE 97th ACADEMY AWARDS?
[BY: ANNA DAVIS & KYLE MACCIOMEI]
With 2024 in the rearview mirror, it’s time to reflect on the cinematic experiences of the past year. In an industry still recovering from pandemic-related delays, two major guild strikes, and audiences primarily flocking to franchise events, 2024 managed to deliver moments of creative brilliance amid the challenges. Smaller, independent films proved their enduring relevance, captivating viewers with authentic storytelling and fresh perspectives. Meanwhile, even within the franchise-heavy landscape, some filmmakers pushed boundaries, reinventing familiar tropes or injecting unexpected depth into blockbuster narratives. This year reminded us that, despite ongoing turbulence, Hollywood remains a powerful force for connection and innovation.
You might think that pride in one’s craft and bags of cash would be reward enough for Hollywood, but that would mean forgetting about The Oscars. The Academy Awards will celebrate their 97th ceremony this March, marking the start of our three-month coverage of this respected, influential, and often absurd institution. In this article, we’ll briefly explore the nine films most likely to receive Best Picture nominations on January 17th. We’ll also touch on the other categories these leading contenders are expected to dominate as well as highlight smaller features that could still punch above their weight. Without further ado, let’s dive into the contenders.
Anora
The Palme d'Or winner, Pretty Woman revamp, and New York fairytale gone wrong is a very odd choice for an Oscar frontrunner, but somehow Ani’s story of night clubs, Russian oligarchs, and a failed promise of the American Dream is resonating with voters. Mikey Madison and Yura Borisov have good shots at winning Best Actress and Best Supporting Actor, and we can count on nominations for Director, Original Screenplay, and Editing. The married duo of Sean Baker and Samantha Quan have been making films in this style for two decades now, and it’s incredible to see them recognized for what has become their defining feature.
The Brutalist
The Brutalist has yet to arrive at any Grand Rapids theaters, but the 215-minute behemoth is just around the corner, waiting for us to explore — and hopefully enjoy. Described as a great American epic in the vein of The Godfather and There Will Be Blood, it’s being marketed as a story of architecture, capitalism, ambition, and a sweeping reflection on the enterprises of this nation. Big ideas! Big Movie! There’s even an intermission; it's so big!
Adrien Brody is poised to earn his second Oscar nomination for Best Actor, his first since becoming the youngest-ever winner of the award for 2002’s The Pianist. Brady Corbet appears to be a lock for Best Director, and the film stands a strong chance of winning Best Cinematography for its striking 35mm VistaVision camerawork. Add to this two Best Supporting nods for Guy Pearce and Felicity Jones, along with below-the-line nominations for Original Screenplay, Film Editing, Original Score, and Production Design, and we’re looking at a towering triumph. However, while The Brutalist is primed for a slew of Oscar nominations, it may also face accusations of pretension as it continually insists upon itself.
Conclave
If The Brutalist challenges us to uncover the soul within towering structures of cement and brick, Conclave invites us to peer through the opaque stained glass of grand cathedrals steeped in mystery. Ralph Fiennes, poised for his third acting nomination, leads the charge as the central figure in a modern-day papal conclave tasked with electing a new pope for the Catholic Church. A mystery/thriller laced with intrigue and pulp, Conclave is a strong contender for Best Picture, offering a timely exploration of opposing political forces maneuvering through the labyrinth of electoral strategy.
Edward Berger is another favorite for Best Director, while Isabella Rossellini seems destined for a Supporting Actress nomination for her quiet yet commanding portrayal of a head nun harboring dark secrets. Stanley Tucci also hovers on the edge of a Supporting Actor nod, though his bustling schedule as a celebrity chef might keep him from mounting a robust campaign. Below-the-line nominations feel like a certainty in Adapted Screenplay, Production Design, Score, and Editing with possible additional nods in Costume Design and Cinematography if the film receives some divine intervention.
Wicked
If you had told us three months ago that Wicked would have a pathway to winning Best Picture, we would have reminded you that:
A musical has not won the big prize since 2002’s Chicago.
Jon M. Chu is far from an ‘awards-friendly’ director.
Honestly...it just doesn’t look that great.
Boy do we look foolish now. Erivo is very likely to get nominated for her Leading role as Elphaba, and Ariana Grande is within a hair toss’s reach of winning the entire Supporting Actress category. Throw in the fact that it is a frontrunner for Sound, Production Design, Costume Design, and Visual Effects, and there’s a strong possibility the ‘Wicked Witch of The West (Part 1)’ goes home with at least four trophies come Oscar night. The one thing that guarantees in our mind that Wicked is not winning Best Picture is the fact that The Academy’s voting body tends to favor the end of a franchise as opposed to a beginning (think Return of the King as opposed to Fellowship of the Ring). Ultimately, though, Wicked’s financial, cultural, and soon-to-be awards success is undeniable, and no one should be counting it out of the race.
5) Emilia Pérez
The Oscars have had plenty of head-scratching wins and noms over the years (hello, Crash!). Your mileage on Emilia Pérez may vary. Maybe you like your musicals with a dash of disjointed plotlines, mediocre vocal performances, and slightly controversial transgender theming. It seems a decent share of industry elites sure do! After picking up awards at Cannes, this French-funded, globetrotting musical seems to currently have the juice to take them toward the top of this race with its ten Golden Globe noms. Zoe Saldaña’s supporting turn as a tabletop dancing lawyer is deservedly earning raves, and she’s stumping hard to inch out a win over Ariana Grande. Netflix is excellent at campaigning, but they have yet to get the little gold man for Best Pic. Is Emilia the one? Post #OscarsSoWhite, Academy leadership has made efforts to diversify and now over 20% of voters hail from outside of the U.S. It’s possible this new portion of the voting body, which has shown lots of love to international submissions as of late, could pave a real path to victory. Emilia Perez is likely to snag nominations for a slew of categories including: Karla Sofía Gascón for Best Actress, Selena Gomez for Supporting Actress, Best Director, Adapted Screenplay, International Film, and every below-the-line category except for Production Design and VFX.
6) Dune: Part Two
Dune: Part One received 10 Oscar noms and 6 wins back at the 94th Academy Awards, doing particularly well in below-the-line categories. With Dune: Part Two being superior to its predecessor in essentially every way, it’s certain to do well again. Or is it? This second trip to Arrakis received only two Golden Globe nominations, for Best Motion Picture: Drama as well as for Hans Zimmer’s compositions. However, with the score deemed ineligible for an Oscar nom this year, one repeat Academy Award will be off the table. There’s a strong chance that it will pick up nominations in nearly every below-the-line category, but fellow blockbuster Wicked may take attention away from the craft on display in Dune: Part Two. Sadly, we may be hurtling towards a reality where Dune: Part Two walks home empty-handed come Oscar night.
With Timothée Chalamet putting all his weight into a spectacular press tour for A Complete Unknown, the film is relying on academy screenings hosted by Villeneuve and Zendaya to remind voters that the film did in fact come out in 2024. And frankly, the Academy doesn’t typically go for sci-fi (excluding Everything Everywhere All at Once, which was an exception in seemingly every way). Though Desert Power may not be enough to push Dune: Part Two to the top of the BP pack, its chances are far from zero. May thy statue chip and shatter.
7) A Complete Unknown
How do you tell the story of an intentionally unknowable figure? Many have tried to pin down Bob Dylan on film with varying success. In A Complete Unknown, Mangold doesn’t even try, instead focusing on the magic in the music, rather than the magic in the man. In Unknown, Bob Dylan is just some guy — some guy with an unparalleled gift who had the drive and the gall to turn that gift into an industry-shattering legacy. Some guy whose understanding of the world and his place in it allows him to put magic on paper but creates distance around everyone who wishes to get close to him.
When the trailer dropped, the internet decided Chalamet was not the guy to play that guy. But he proved them wrong. Less imitation and more veneration, Chalamet gives a career-defining performance, one so strong it has skyrocketed his chances of a Best Actor win, also elevating the entire film into the Best Picture conversation. The pristine quality of the live musical performances could also help Unknown snag Adapted Screenplay, Supporting Actor, Sound, Cinematography, and possibly Costume recognition. Mangold has been here before with Walk the Line, which though lauded at the time, has since been maligned for falling into the numerous traps of the biopic genre.
8) Sing Sing
Apparently, Sing Sing is pretty good! But we can’t see it to confirm. A24’s strange rollout for the film is the biggest mark against its Oscar chances. Following a successful limited release in late summer featuring free screenings, it never went wider, with A24 instead opting for a larger release in early 2025. By all accounts, Coleman Domingo is a strong contender for Best Actor and Clarence Maclin remains in the conversation for a Supporting nom. It also may pick up recognition for Adapted Screenplay. Besides pushing Nicole Kidman for Babygirl, A24 doesn’t have many other horses in this year’s race besides The Brutalist. You’d think they’d want to put their energy behind this supposedly excellent movie, but instead A24 is giving Sing Sing the Iron Claw treatment.
9) A Real Pain
A Real Pain was an immediate stand out from Sundance 2024, particularly being praised for Keiran Culkin’s quirky supporting performance. An exploration of family trauma wrapped into a buddy dramedy, Jesse Eisenberg shows great promise in his second go-around directing a feature. A cringe-inducing dinner scene paired with a striking ending at a former concentration camp gives the film enough juice to stay in the awards conversation. We could reasonably make some historical comparisons to films like Juno or Little Miss Sunshine: likely to scoop up an Original Screenplay or Supporting Actor win but not in any position to take home Best Picture this season. Culkin remains in the race as a Supporting Actor frontrunner, keeping the film enough in the conversation to warrant its place in our top nine.
In Conclusion
There is one more spot to give for Best Picture, and it appears to us that there are five films that are currently fighting to get in. RaMell Ross’s Nickel Boys appears to be a revolutionary challenge to cinema as a form with its Point-of-View cinematography. Coralie Fargeat’s The Substance has been gaining steam thanks to Demi Moore’s bold lead performance conveying graphic themes of female beauty standards. Payal Kapadia’s All We Imagine As Light was not submitted by India for the International Feature category, but might still have a chance sneaking into the Best Picture race. Additionally, Dreamworks has been pushing The Wild Robot hard for this campaign, but it is unlikely to pay off (the last animated film to be nominated for Best Picture was 15 years ago with Toy Story 3). Finally, September 5 is a politically relevant historical look at journalism’s intersection with ethics, mass media, and violence. One, if not two, of these films could eke out a nomination in the big category, and they are sure to be scattered about in others.
For Animated Feature, it looks to be a competitive race between The Wild Robot and Flow, and in Documentary keep your eyes open for No Other Land, Sugarcane, and Daughters. International Feature will likely go to Emelia Perez, but with high marks for I’m Still Here and The Seed of the Sacred Fig. This is where the contest currently stands, but there’s still a long road of campaigning before statues are handed out. Since this article has been written (but before it will be published), The Golden Globes should change up the dynamics in interesting ways, and watchful readers should always keep an eye on the Critics Choice, PGA, WGA, DGA, SAG, and BAFTA awards to get some strong insight on who should be in the lead come Oscar night.
We will be back after Oscar nominations are announced on January 17th to continue overanalyzing the state of the race for what is ultimately a ridiculous entity within Hollywood to serve fragile egos and boost box office receipts. While The Academy Awards’ reputation is often in question, its influence on the industry is not. Most importantly, though, the Oscars provide film lovers an annual excuse to reflect, interrogate, and often debate the films they connected with the most...and we think that’s something to celebrate.
UPCOMING EVENTS
WINTER LIGHT (Bergman, 1963)
WHAT: THE SEASONS OF BERGMAN SERIES COMES TO AN END! Released when Bergman was arguably at the pinnacle of his artistic prestige, Winter Light takes place in the depths of a Scandinavian winter. A small cast of characters are each burdened by hefty and unavoidable questions about the purpose and even value of their individual lives.
WHEN: TONIGHT! Monday, January 6th, 7:00pm
WHERE: The Wealthy Theatre
THIEF (Mann, 1981)
WHAT: MICHAEL MANN-UARY CONTINUES! A highly skilled jewel thief, Frank longs to leave his dangerous trade and settle down with his girlfriend, Jessie. Eager to make one last big score in order to begin living a legitimate life, Frank reluctantly associates with a powerful gangster.
WHEN: Monday, January 13th, 7:00pm
WHERE: The Wealthy Theatre
WHAT: A FREE social event where local filmmakers will have a chance to screen rough cuts of their current projects!
WHEN: Tuesday, January 14th, 6:00pm
WHERE: The Wealthy Theatre
And so we’ve arrived at the end of another BEAM FROM THE BOOTH! We appreciate you taking the time to read it and truly hope you’ll continue to do so. Be sure to SUBSCRIBE to get each issue in your inbox every week, and stay up-to-date on all things GRFS.
Plus, join us on social media! We’d love to chat with everyone and hear YOUR OWN thoughts on everything above (you can also hop in the comments section below).
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Look for ISSUE #84 in your inbox NEXT WEEK!
Until then, friends...
