🙌🙌🙌 🍆🍑 #sexeducation #mimionamission @peggypicturesuk #bafta

My target for my life is :- to stay at coventry city academy until i reach coventry city 1st team, its my dream😓😓😰

👑 @Coventry_City are the CHAMPIONS! 👏 #EFL | #SkyBetChampionship

Frank Lampard’s first Premier League appearance was against Coventry. He was subbed on at the same time as Gordon Strachan, who was Coventry’s manager 25 years ago when they were relegated.

Not since Norwich in 03/4 season has a team won the Championship when not in receipt of parachute payments and with a lower half wage bill. If Cov can go on to win it - it’s statistically the greatest "pound-for-pound" title win in the history of the modern Championship #PUSB

The Coventry story pisses all over that Netflix Wrexham one.

Why do clubs keep hiring Frank Lampard? 😂

WE ARE BACK.

I’m delighted that Rory has gone back to back. I’m also buzzing to read some absolute nonsense American golf fans have to say. Maybe you can 3D print yourself some mates.

Warm colors increase your heart rate. Cool, washed-out tones lower it. Every remake you’ve watched in the last decade has been deliberately color-graded to flatten that signal. It started in 2000. The Coen Brothers shot O Brother, Where Art Thou? in Mississippi during summer, when everything was, in Joel Coen’s words, “greener than Ireland.” They wanted a dusty Depression-era look. Cinematographer Roger Deakins tried every trick in the book: chemical treatments, lens filters, old darkroom techniques. Nothing worked. So they did something no one had done before: digitally scanned the entire film and recolored it frame by frame. Deakins spent 11 weeks turning lush greens into burnt yellows. No feature film had ever been entirely digitally color graded before. Every major studio adopted the technique within a few years. And then the problems started. Modern film cameras don’t capture what your eyes actually see. They intentionally record flat, grey, washed-out footage to capture as much detail as possible. The plan is for the color team to add vibrant color back in later. But the people doing that work stare at grey footage for weeks. Their eyes adjust. One filmmaker admitted he’d bring saturation up to 120% and feel satisfied, then realized the image still looked desaturated to everyone else. He had to crank it to 200% before it looked normal. That’s just eye fatigue. The color draining also happens on purpose. Muting colors hides bad CGI. If a computer-generated background doesn’t quite match the actors, draining the color smooths over the mismatch. The Lord of the Rings extended editions look flatter than the theatrical cuts for exactly this reason: the added scenes had less polished effects, so they were washed out to cover it. Then streaming made it permanent. Bright colors look messy when video gets compressed for phones and laptops. Dull colors look consistent whether you’re watching on a 75-inch TV or a 6-inch phone screen. So studios color their movies for the smallest screen in the room. Your brain registers the difference even if you can’t name it. Your eyes are wired to perceive warm, rich colors as closer and more immediate. Washed-out tones create emotional distance. When a studio drains color from a scene, they’re dampening the emotional signal the image sends to your brain. Old film stock didn’t have this problem. Kodak and Fuji films had rich, punchy color built into the physical chemistry of the film itself. Each brand had a distinct look you could recognize. Digital cameras capture flat, neutral data by default. Getting that warm, vivid “film look” from digital requires skilled work that costs time and money. Most productions don’t invest enough of either. Modern cameras can capture a wider range of colors than film ever could. The technology has never been better. The choices have never been lazier.

Reckon we’ve missed the boat on this or what?

I have been to @RAFAkrotiri several times in the last year. Some brilliant people live and work there. Hope they are all ok

It's the welcome return tonight of #ForensicsTheRealCSI, showcasing the great work of @WMPolice. When 12-year-old Leo Ross is fatally stabbed in Birmingham's Trittiford Mill Park on his way home from school, police suspect a 14-year-old but need forensics to prove it. BBC2 at 9.

Please turn into the new series of Forensics: The real CSI Filmed in the West Mids with a super talented team @blastfilms @WMPolice

He was only 16 years old when the first documentary featured him in the late 80s You think he was exaggerating way back then in the hopes of a film being made nearly 40 years later??? Daft fucking fanny of a person, aren’t you?

When you consider how they have used inflation as a stealth tax, have increased nominal taxes anyway, and yet the deficit has ballooned to £150bn, when will people get it in their heads that we are essentially insolvent? Govt is spending too much. And much of what it spends is in the wrong places.

Poor taxation policy is driving my generation abroad and away from the UK. There is a 51% marginal tax after £50k, and after £100k that becomes 71% . In addition to loss of child related benefits. It simply doesn't pay to work.

The most fascinating documentary I’ve ever seen is called The Up Series. It followed the lives of a group of 7-year-olds - and filmed them at age 7, 14, 21, 28, 35, 42, 49, 56, and 63. Biggest takeaway: Who you are at 7 is likely who you are at 63.

The UK must be the worst place in the western world to earn between £80-£140k because you are going to pay Scandinavian levels of tax without any of the benefits of being in a Scandinavian country 😂

In a properly functioning market, the higher your income, the lower your rate because the lender (wisely) judges you're more likely to pay off your loan so are a lower risk. The UK is, however, no longer a functioning market. It's a series of overlapping price controls.

I make documentaries for a living, and love the drama of Cov twitter. Who would be keen to see a documentary on it? Could be made even more special if it’s released end of season if we get promotion 👀 #PUSB