Ratings for Anthony Starke's episode of Angel:
Prime-time ratings compiled by Nielsen Media Research for May
6-12. Top 20 listings include the week's ranking, with rating for
the week and season-to-date rankings in parentheses.
An X in parentheses denotes a one-time-only
presentation. The rating is the percentage of the nation's estimated 105.5
million TV homes. Each ratings point represents 1,055,000
households.
1. (4) ER, NBC, 18.6, 19.6 million homes.
2. (2) CSI: Crime Scene Investigation,? CBS, 16.5, 17.4
million homes.
3. (1) Friends, NBC, 15.4, 16.3 million homes.
::snip::
83. (X) Reba, WB, 3.2
88. Angel, WB, 3.1
89. Dawson's Creek, WB, 3.0
UPN's 2002-2003 prime-time schedule will capitalize on the momentum of last season. UPN will use its key anchor series to do what few other networks can -- launch all three of its new shows in protected time periods behind well-established series. The new shows were created as companion pieces for their lead-ins and to bring dedicated fans from one night to the next.
Coming off of its best full season ever in 18-to-34 year olds, UPN has had a season of bests. UPN will finish this season as the fastest-growing network among 12-to-34 year olds, 18-to-34 year olds and 18-to-49 year olds. This season, UPN beat The WB among 18-to-34 year olds, 18-to-49 year olds, total viewers and households.
"We are focused on making UPN a well-defined brand," said Ostroff. "Our goal is to make UPN the first place on the dial that 18-to-34 year olds go and this schedule puts us comfortably on our way to doing that."
The new dramas are THE TWILIGHT ZONE, hosted by Forest Whitaker, and HAUNTED, starring Matthew Fox. The new comedy is HALF AND HALF.
THE TWILIGHT ZONE (Wednesday, 9:00-10:00 PM), hosted by Forest Whitaker ("Panic Room"), comes into the 21st century in UPN's modernized incarnation. On Oct. 2, 1959, THE TWILIGHT ZONE aired its first episode and instantaneously became one of television's seminal classics. Honoring Rod Serling's profound legacy, this new version of the perennial favorite will envelop viewers in a world of fantasy and suspense. Award- winning actor Forest Whitaker will host each self-contained episode of THE TWILIGHT ZONE, which will often feature known actors as ordinary people in beyond extraordinary situations as they enter the sometimes frightening, often intriguing, but always suspenseful and surprising world of The Twilight Zone. THE TWILIGHT ZONE is a Trilogy Entertainment Group production in association with New Line Television. Pen Densham ("Robin Hood: Prince of Thieves," "The Outer Limits") is the writer and will be executive producer with his partners Mark Stern ("Outer Limits," "Poltergeist: The Legacy") and John Watson ("The Magnificent Seven").
Wow, today is Eric day :)
Eric's bio at Scifi.com
A review of the Without a Trace pilot.
Lots of spoilers so I'll just link to it.
Another pic from the CBS Up Front Party
Do a search for Eric Close
Eric Close in Taken
The miniseries will air on Scifi in December.
Del Toro Forms Hellboy Team
Guillermo Del Toro, director of the upcoming Hellboy movie, told SCI FI Wire that the film will feature an ensemble of characters from Mike Mignola's comic book, led by Ron Perlman in the title role. "We're going to have Grigori Rasputin, like the comic books," Del Toro said in an interview. "We're going to have Abe Sapien. We're going to have Liz. We're going to have Broom, Ilsa, Cronin. I like writing more choral pieces. Devil's Backbone had 10 characters. Blade II even has a gang of about 10 characters that are interesting or important. This one will be the same. I just enjoy it."
Del Toro said the success of Spider-Man has not affected his film. "I got a green light before that, but now I wish I had got a green light after it, because we would have gotten a little more money. But, hey!" He also said that he felt no pressure to live up to Spider-Man's legacy. "They're different movies," he said. "X-Men didn't give me any pressure for Blade II. This one shouldn't give me any pressure for Hellboy." But Del Toro did say that he had to fight to get Perlman as his star. "I did five years of convincing." Hellboy is in preproduction.
Promo pics for Eric Close's new series Without a Trace:
Pic #1:
Pic #1:
Eric Close's new series Without a Trace is scheduled for Thursdays at 10:00PM starting this fall.
WITHOUT A TRACE (Thursday, 10:00-11:00 PM) stars Anthony LaPaglia ("Murder One"), Enrique Murciano ("Black Hawk Down"), Poppy Montgomery ("Blonde"), Marianne Jean-Baptiste ("Spy Game") and Eric Close ("Now and Again") in a fast-paced procedural drama about the Missing Persons Squad of the Federal Bureau of Investigation. The special FBI task force's sole responsibility is to find missing persons by applying advanced psychological profiling that will peel back the layers of the victims' lives to trace their whereabouts -- and discover whether they've been abducted, are missing by choice, were murdered or committed suicide. The team reconstructs a DOD (Day of Disappearance) timeline that details every minute of the 24 hours prior to the victim's disappearance, following one simple rule: learn who the victim is in order to learn where the victim is. Senior agent Jack Malone (LaPaglia) heads the dedicated team that knows too well that every second counts when someone vanishes. His team: Samantha Spade (Montgomery), an agent who doesn't let her good looks get in the way of being tough; Vivian Johnson (Jean-Baptiste), a no-nonsense investigator; Danny Taylor (Murciano), who is intense and private, and Martin Fitzgerald (Close), the newest member of the team and considered a lightweight because his only experience involves fighting white collar crime. Jerry Bruckheimer ("CSI: Crime Scene Investigation," "Black Hawk Down"), Jonathan Littman ("CSI"), Ed Redlich ("The Practice"), David Nutter ("Band of Brothers") and Hank Steinberg ("61*") are executive producers for Jerry Bruckheimer Television in association with Warner Bros. Television and CBS Productions.
Rick Worthy:
IMDB has added Collateral Damage to Rick Worthy's credits. He played a character named Ronnie.
Terminator 3 set report:
A ROMANTIC COMEDY WITH A TWIST
Beyond the Terminator Franchise:
On the set of T3: Rise of the Machines
By Paul Fischer in Los Angeles
It has been labelled the most expensive greenlit production in Hollywood history, and already the most anticipated film for release next Summer. While the film may be shot in secret, in Part One of this special story, Dark Horizons' LA Correspondent Paul Fischer visited the set and tried to get some answers from its tight-lipped director.
In a cemetery overlooking Los Angeles, one is all too acutely aware that one is standing amidst big-time Hollywood moviemaking. The set of Terminator 3 is everything one expects from a major Hollywood action epic budgeted at well over $100m. A large crypt is emitting smoke, extras donned in black police costumes hang around in the glaring Los Angeles heat to await their cues. A semi-bearded Jonathan Mostow, the director who has bravely stepped into James Cameron's shoes, is sitting in front of a monitor, while five cameras are prepared to shoot a noisy gunfire scene, first with Arnold Schwarzenegger's stunt double, and the with the man himself. Why on earth would the director of U0571 want to direct such a complex film full of an established history? "Obviously, it's a daunting semi-masochistic effort to step into this director's chair, but no pain, no gain," Mostow says laughingly, during a break in shooting. Be that as it may, Mostow insists that this project will be true to his unique visionary style. "Even if I tried to copy somebody else's style, I couldn't," Mostow explains, somewhat tentatively. "It's impossible on a movie. What you see on the screen is the end result of a million decisions, some which don't really matter. Should this be red or green? Three or four? This tall or that small? Probably half those decisions really don't make a rat's ass difference in the final outcome of the film but a lot of those decisions do. At the end of the day the final movie will for better or worse be sort of a filtration through my subconscious instincts about what all those decisions amount up to. What I bring to it is just my own sensibilities."
Mostow remains guarded on key plot points or even semblance of character. All that he will reveal during our brief on-set discussion, is that the action will be unique, especially given two Terminators [one of which is a lithe female]. "The great thing in this movie is that you have two robots who each weigh a ton fighting each other, so already, the fight sequences are going to be different than other movies we've seen." And of course, audiences will see Arnold doing what he does best. "You certainly WON'T see Terminator doing 'chopsocky'; that's not what people want to see and it's not right. Terminator's a character that everybody knows and they have their own bullshit detector about what feels right and what doesn't feel right, so we're all guided by that instruction of rights."
Finally Mostow insists that being a fan of the series and of films in general make his directorial decisions a lot more straightforward. "It actually makes it easier because you know what you want to see. You just go, 'Well, that's fun. I like seeing that.' So, it's the ultimate audience interactive experience. It's what movies will probably be in three centuries. We'll all come and just press buttons in a movie theatre and we'll see whatever movie we want to see." Mostow is having a ball shooting T3, adding laughingly, that he's "like a kid in a candy store."
Terminator 3 set report #2:
T3: RISE OF THE MACHINES SET REPORT
By Smilin' John Conner Ruby
Do you remember the reports around the time of The 6th Day about how Arnold Schwarzenegger didn't want a gun on the poster and actually cut some of the gun violence for the flick? What about the early reports about Collateral Damage that came out and said that Arnold wouldn't be firing a gun for the entire movie? Yeah, I remember those bits, too. So, when I watched Arnold fire what looked like one of those old mounted tank guns from a quick-draw position today, locked to his thigh as he walked out of a crypt carrying a coffin on his shoulder, blasting away at an entire SWAT team full of guys shooting back, it was a damn welcome sight.
Let me back up. Today was the day that a whole bunch of us West Coast genre reporters hit the set of the third film in the Terminator action franchise, T3: Rise of the Machines to hang out, watch a big shoot-out sequence get filmed, and chat with the producers (Joel Michaels and Colin Wilson), the production designer (Jeff Mann), the cinematographer (Don Burgess - fresh from Spider-Man), effects maestro Stan Winston, director Jonathan Mostow and then, of course, Arnold Schwarzenegger himself.
BUT...if you think this is going to be a spoiler-laden three-part set report, you're wrong. First of all, we were asked to sign confidentiality agreements to keep spoilers out of the articles. That said, EVERYBODY kept their mouth shut. Nothing slipped out. They wouldn't tell us that much about the plot at all - it's top secret. Yes, they talked all about the effects, the shoot, working with Arnold and everything else (and yeah, Mostow was very frank and honest about stepping into Cameron's shoes on this one), but they wouldn't give anything away about the plot. So there.
So, this morning the destination was Pomona, most accurately the Rose Hill Cemetery out there where we parked at a nearby college and were driven over to the set. The set consisted of a large crypt that production designer Jeff Mann (Gone in Sixty Seconds, Swordfish) had added a couple of additions to the ends of where the Terminator has busted out through a stained glass window carrying a coffin as he turns his weapon on the cops that have surrounded the place. We were told that the crypt was actually there at the cemetery, but a lot of the tombstones around the place were also built for the production, which was obvious as when the shooting started, a lot of them took bullet hits and pieces of stone flew in the air. I was actually standing up across the way under a tree directly in the line of fire from Arnold as he toasted all the cop cars (underneath one of the squad cars was one of those hydraulic lift-punchers - we weren't there for the shot, but obviously it will soon blow up and be vaulted into the air) and if he had been firing live rounds, I would've been literally filled with holes.
Basically, what I'm trying to say is that it's a Terminator movie, all kidding aside. When Arnold walked up to us later, the make-up on his face was un-fucking-believable. The entire interview, I just stared at it as it was so subtle - a series of bullet hits to his face. You know how under his skin he's supposed to have the metal endoskeleton? Well, it looked like he really did - even close up. They had pressed the metal pieces pretty tight to his skin and built up a bit of tissue around each hit - but not to where you think it's fake. It was actually pretty ingenious as they really didn't look like make-up effects. I was genuinely impressed and it was fucking cool to see it close up.
Speaking of close-up, I'd just seen Arnold at the junket for Collateral Damage and he looked fine, a normal guy - just a little more built, but as he was wearing a suit coat, he looked like a regular guy. When he walked up to us this morning, he was ripped. When I say ripped, I mean ripped circa ten years ago ripped. If anybody thought it was going to be a stretch that he should look identical to how he looked ten years ago, let me go ahead and be all spoiler-y and say a hearty "fuck no" to that. He is in phenomenal shape and probably has been working out like a fiend to get back to this the past few months. Admittedly, it was pretty cool to feel like I was walking onto the set of T2 or something. If he hadn't looked perfectly like what you want the T-100 to look like, it would've felt "off." Because he was identical - black-to-gray t-shirt, black leather pants, black leather jacket, black boots and black sunglasses as far as the costume went as well - I was sold.
But, let's get into the interviewing, shall we? Far more about the set and everything going on as the set report unfolds, but I wanted to bust out at least a handful of quotes from everybody (yes, with tons more stuff when the movie hits next year, of course, right now set around July 4th, 2003) about what they had to say about the film and what it was like, ten years later, re-visiting this franchise. Unfortunately, we didn't get to meet Kristanna Loken, the woman playing the T-X as she was working second unit doing night shoots, but I'm sure we'll talk to her somewhere down the line.
And I'm back with stuff from the set of T3: Rise of the Machines where they are in the middle of a one hundred day shoot that is bouncing all over Southern California on locations and on various stages. Interestingly enough, the scene we saw shooting was to be bounced to a massive car chase that was going to be soon shot in Long Beach not too long afterwards (they were spending three days shooting in the cemetery).
The first guy we talked to on the set was producer Colin Wilson, a young guy who came up through working on Spielberg-related projects it seemed as he was an associate producer on Jurassic Park before working as a producer on The Flintstones, Casper, The Lost World, Amistad, Small Soldiers and The Haunting before taking on Tomb Raider last year. He came up and talked with us for a few minutes and described what we were seeing:
"As you can see by what's going on here, one of the windows is smashed out (of the crypt) and we're working on the rigging of a shot as you can see as an extremely heavy coffin is being carried across this lawn here. Looking at the location, you can see that this is actually a practical location. It's an existing crypt within the cemetery that we've taken and embellished and added these vestibule wings on the side with the stained glass. One of the glass panels being broken."
Somebody asked him how he came to work on this big-budget adventure sequel, to which he replied:
"I was very fortunate to be courted by Jonathan Mostow, the director, (producers) Hal Lieberman, Joel Michaels, Andy Vajna, and Mario Kassar having fortunately worked on quite a few movies that have had complex CG, visual effects, practical effects. (The effects are), like most modern day movie-making, cutting-edge. We're pushing the boundaries both physically and visual effects. We're pushing those boundaries yet again."
When asked about living up to the Terminator franchise and the possible pressures there, he replied:
"We have to pay a certain homage to the sequel itself. We're pushing the boundaries of the story to new levels, too, and somewhat being very honorable to the franchise in some ways. Logistically, it's a tough project. We're out on location somewhere reaching ten to twelve weeks, fortunately, in and around Los Angeles - all practical locations. That in itself offers a great deal of opportunities and challenges for all of us to move this little army, this little circus that we have here from day to day."
At this point, you can tell what the day was like. People were very, very guarded about what they said to us press-folks. Nothing too demonstrative, nothing saying too much about what was going on in the movie, just a lot of secrecy, secrecy, secrecy. They are really focused on not letting anything slip out about this one during shooting as they will likely want to do the same kind of teaser campaign they did with T2 where a number of people didn't even know Arnold was the good guy until the immortal words, "get down" were shouted in the mall hallway. As a seventh grader who hadn't noticed the internet even really existing beyond a friend showing me nude shots of Paula Abdul on some BBS at one point, it came as a big shocker for me, all right. But still, why all the secrecy?
"Well, we're trying obviously to protect the franchise, really - the movie. In many ways, there's unique qualities in any movie that you want to protect and preserve and keep that excitement and unique level of filmmaking held back, so as to not dissipate anyone's illusion."
So, there you go. Secrecy. Honestly, it felt like what it must be like doing a set visit to a Star Wars movie. Naturally, what this implies, is that they've got a lot of tricks up their sleeves that they don't want getting out there until that first "shocker" audience sees the movie.
We watched them set up for awhile and lest you think Arnold was carrying the coffin himself, it was actually up on a big rig hanging from a crane. While we watched, quite-famous-at-this-point stuntman Billy Lucas, who has been doubling for Schwarzenegger since Total Recall (but also did stuntwork on They Live and To Live and Die in L.A. previous to that long-standing collaboration and continues to work in other films as well as Schwarzenegger pics), ran through the sequence of walking from in front of the crypt carrying the coffin, turning and pointing his gun at the cops miming the act of firing it, and then turning and continuing. The coffin already had a number of bullet hits in it and part of the reason Arnold wasn't doing the rehearsal was because he was busy getting made up for all the bullet hits that had already struck his face.
But then the unit publicist (Who, seriously, kept this thing moving. We were there for only a handful of hours and got eight interviews. That's not the norm - seriously) called us over to chat with production designer Jeff Mann. Jeff was an art director on Kalifornia, but then graduated to production design work on big movies like Gone in Sixty Seconds, Swordfish, Showtime and now T3. He started out by giving us a full breakdown of what they did to the crypt we were seeing before us:
"First of all, I'm very pleased with how this particular set turned out. It was one of the first production folders that I ever saw on the show. It was, in my mind, always a shoo-in. There was a point where the show was going to Vancouver and we couldn't find anything even remotely that came close to this aesthetic up there. We were potentially going to build the whole thing from scratch. What you're looking at here is an extension of an existing architecture we inherited by coming here. The main entry doors and the returns are either side of it are the existing structure. We added the two wings from where that wall returns going left and right where both the stained glass windows are. We basically took the cue from what was here. It's very neo-Mediterranean, early Californian. This is actually the first private crypt in California. It didn't belong to a family. You could buy slots in the crypt. It was built in 1922 originally."
When asked about what kind of pre-production there was and what kind of challenges he faced, Mann replied:
"The challenge was pre-production because it was so truncated. We were still playing catch-up today. There's a lot of sets that are still concepts right now that we're just starting to design. Things on any movie take on a life of their own in the process of information and script changes and stuff, it's constantly evolving and you get to a point, in reality, if you're lucky, fifty percent of everything you accomplish in pre-production is actually what you end up doing. There've been quite a few script changes. There are always script changes. On the last three shows I've been on, we've gone through all the colors three times on all of them, so it's just a daily struggle. You're just begging for those pages so you can stay ahead of the curve and not get caught shorthanded. There's a few things that I'm not really at liberty to discuss that are definitely a challenge and still are. My personal process is one of digesting the script - I kind of do a cursory read and let my mind wander without going through the script with a fine-toothed comb initially and let my conceptions of what I've read, germinate. Once I visualize some of these ideas, I go back through and really get finite with what is required and then back into some of my ideas that I allowed myself to come up with without being so finite initially and let it be a little broader."
Finally, somebody asked about how much of an influence the previous films had on Mann's design work on T3 to which he had this to say:
"There's a certain amount of what's come before that I've embraced and there's a certain dictum based on what has come before us in the Terminator franchise of visually what's going on. I never want to compromise that and I listen very intently to what Jonathan, our director, has to say about what he holds dear from what has come before, but I also look at it as an opportunity. I'm not trying to re-invent the wheel, but I'm trying to show a wheel that possibly hasn't been seen before."
We moved on after spending a lot of time chatting with Jeff and watched an actual "take" of the scene they were shooting. There were five cameras capturing the action - #1: A main one on a dolly that moved parallel to the road where all the cop cars were and followed Arnold as he walked out. #2: Another main fixed one that was at the same point where the dolly started rolling. #3: One low to the ground in front of the cop cars looking up to where Arnold was walking. #4: A long shot all the way down the road about thirty yards or so taking in the scene perpendicularly from a distance. #5: A camera mounted up on a crane looking down over Arnold from the same point as a large rack of lights.
But then, a very familiar face showed up. I've interviewed Stan Winston a few times before, of course, as he's always out there. Most recently, I got some quotes from him at Fango Con about his Creature Features last October on HBO, but before that, I interviewed him about Time Machine at the San Diego Comic Con. And a bunch of other times, too. Random stuff. Wonderfully nice guy and a fantastic interview subject. Stan came up in jeans and a black t-shirt looking pretty buff and smoking a big cigar (when asked if he got that from Arnold, he said that he was smoking cigars when Arnold was in diapers - or something to that effect). Anyway, he showed up and chatted it up with us for quite awhile about the shoot and what it meant for him to return to one of the many franchises that made him famous.
Naturally, the first question revolved around the challenges of living up to the iconic images he created in Terminator and T2, to which he replied:
"Well, every movie you go into is a challenge and bottom-line is, we have to do something you haven't seen before or do what you have seen before in a way you haven't seen it. So, as Terminator was a breakthrough in the industry as far as what we were able to do with characters and animatronics, robotics and a certain amount of animation in it. Terminator 2 became a watershed as far as the extent of character effects and robotic effects, the blending of live-action and computer-generated images. Terminator 3 has got to beat it all and that's what we're planning on doing. Challenging myself is something that I do on every movie. I won't do it if I have to do what I did yesterday. So, we go into every movie with the idea of, what are we going to do differently and beyond anything you've seen with the Terminator, with Arnold. So, you've got to end up knowing you're going to see Arnold, at the end of this movie, in a way you've never seen him. You've got to know there's going to be a new Terminator. Everybody knows it. We have the T-X, the female. What does she look like? She's got to be beyond what you've seen before. It can't be a replication of what we did with Robert Patrick and the T-1000. We have to create a new Terminator. Someone that you believe could, in fact, kick Arnold's ass in the shell of a very beautiful woman. So, that's what we're doing and that's what we've done. I promise you that you'll love seeing the T-X."
When begged to elaborate, Winston laughed and said:
"I will not elaborate! I will not give you details, but I will tell you, what was science fiction, science fantasy in Terminator is, in many ways in Terminator 3 has become science fact. So, along with what we can now do with digital animation, what we can do with digital effects to create the illusion of the Terminator, we also now are so advanced in robotics and animatronics with the kinds of things that we've done with Stan Winston Studio over the past many years, we have built the most amazing robotic effects anyone's ever seen. We made dinosaurs live as real robots. So, what we had to pretend we were doing in Terminator, in many ways and in some of the things I cannot tell you about, we're creating some real robots in Terminator 3. So, you will see in Terminator 3, ultimately, the most advanced robotic effects and the most advanced digital effects and advanced blending and above it all, artistically and creatively, the new Terminators will be beyond what you've seen in the previous movies. That's what we have to do."
As for the ol' playground idea of who-would-win-in-a-fight, Winston laughed and had this to say about the new upgraded Terminator, the T-X:
"I would comfortably put the T-X up against the T-1000."
Finally, Winston was asked about the possibility of new breeds of Terminators showing up in T3, he again was evasive, but did reveal with a twinkle in his eye (of course):
"I won't get into that with you, but I will tell you that there is more to look forward to as far as, quote-unquote 'Terminator robots' than just the T-800 - the Arnold-Terminator and the T-X, which is the new Terminator."
And that's just Part 2. We've got a lot more ground to cover over the next two parts of this set report including chatting with the director Jonathan Mostow, the cinematographer Don Burgess, and the Terminator himself, Arnold Schwarzenegger - and many others!
CBS Rumored to Stock Up on Dramas for Fall:
By all accounts, it looks as though CBS will pick
up five dramas and two comedies when the network announces its fall lineup at
tomorrow's upfront presentation to advertisers at Carnegie Hall in New York.
Among the shows rumored to be getting the good word are the dramas "CSI: Miami," "Hack," "Presidio Med," "Metro" and "Without a Trace," and the comedies "Still Standing" and "Bram and Alice."
If CBS does in fact select the "CSI: Crime Scene Investigations" spinoff and the missing-persons drama "Without a Trace," it will give super-producer Jerry Bruckheimer a total of four one-hour dramas on the eye network (the other one being "The Amazing Race," currently airing on Wednesday nights.)
Based on the ratings numbers that last week's episode of "CSI" received when it featured the cast of "CSI: Miami," it seems like the network's one sure-thing.
Rumors are also circulating that CBS will also pick up the dramedy "Queens Supreme," produced by Julia Roberts, and Nathan Lane's half-hour comedy "Life of the Party."
BIEHN THERE, DONE THAT
By Dave Davis
Contributing sources: Coming Attractions
There are some guys who've been associated with such cool projects that you can't help but root for them.
So it's nice to hear that actor Michael Biehn is getting to revisit his breakthrough role. His fine work in "Hog Wild" notwithstanding, Biehn first came to attention as time-traveling soldier Kyle Reese in James Cameron's "The Terminator". And it seems as though he's going back... or forward... in time to play the role once more.
While promoting "Clockstoppers" (in which he plays a villain trying to stop meddling kids), Biehn revealed he will indeed be shooting a cameo for the now-lensing colossal-budgeted sequel "Terminator 3: Rise of the Machines".
When asked how his character could appear again, having died in the first film, Biehn said "You go away, you think about it...and you'll realize there's a place for Kyle Reese in this movie, as minute as it will be".
Makes sense. Hey, if Stephen Hawking and "Back to the Future" taught us
anything, it's that you can do whatever the hell you want when it comes to time
travel...