Aircraft Walkaround Thu, 24 Nov 2022 03:28:05 +0000 en-US hourly 1 Aircraft Walkaround 32 32 Lavazza: Calendar 2023 by Alex Prager: YES! were open Thu, 24 Nov 2022 03:01:36 +0000

The “cafés”, whatever the country, are the place where people meet spontaneously and where everyone is welcome. Friendly, you can meet people of all origins, all social classes, all religions. Each of them is an actor, playing the main role in his own story. In 30 years of calendars, Lavazza has told us the stories of many of these people, mixing dreams and reality over a cup of coffee.

For its 2023 calendar, Lavazza chose the American photographer Alex Prager. She produced her work under the title “YES! were open”. She embodies the beauty of a humanity that regains its vitality and curiosity, expresses its individuality and connects people. A way for Lavazza to reaffirm its freedom of thought and expression, to remind everyone that they have been in business since 1895.

If Alex Prager is an artist who likes happy endings and spectacular settings, she is also very sensitive to popular culture and street photography. In her work, she likes to merge past and present to create a sense of ambiguity. His images are both familiar and disturbing, depicting worlds that synthesize fiction and reality and evoke a sense of nostalgia. She cultivates surrealism by creating emotional moments that feel like memories or fabricated dreams.

In this series, wide shots alternate with close-ups in a meticulous construction and a subtly provocative humor. His inspirations are as much classic Hollywood cinema as hyperrealism or pop iconography to offer images that refer to humanity and connection in an ever-changing and often unreliable world. Because whatever our origins, our emotions are the same and unite us in our differences.

Carole Schmitz

Advanced Mixed Reality Apache Trainer from Vrgineers and DigiFlight Wed, 23 Nov 2022 14:00:00 +0000

LA VEGAS and PRAGUE, November 23, 2022 /PRNewswire/ — Engineers and DigiFlight have teamed up to produce a modern, comprehensive training solution for the world’s toughest multirole attack helicopter. With more than 1,200 aircraft currently in service, the Advanced Mixed Reality Apache Trainer (AMRAT) will accelerate pilot training with high-fidelity MR solutions and therefore significantly reduce the number of aircraft hours normally required to support individual task and crew training.

The AMRAT is built on a proprietary wearable platform designed by Vrgineers, which was originally created for the USAF. It delivers the most affordable, immersive, and realistic experience available on the market today without expensive visual display systems, complicated support systems, or unique facility design requirements. The trainer features two separate but interconnected crew stations (the pilot’s and co-pilot’s gunner’s station), with switches, panels, flight instruments and replicated displays connected to a computer and image generator of integrated virtual reality. Currently, it is supported by a leading provider of immersive flight simulation software, ED Mission Systems.

This new product is the result of cooperation between Vrgineers, (an innovative manufacturer of flight training simulators) and Digifight, a technology company with extensive experience in pilot training worldwide. “We are confident that by combining our skills, we are able to deliver a training device capable of supporting Apache training tasks, including individual and crew skills, preparing them to operate in no any environment, meeting critical mission requirements”, Explain Marek PolcakCEO of Vrgineers.

The future of possibilities:

“The ability to conduct a seamless mixed reality environment with a wearable haptic flight seat driven by a true-to-reality simulation engine, not only guarantees pilot proficiency, but more importantly provides the feel of a unique and authentic experience encompassing scenarios complex operations. This allows our users to save time and effort while minimizing the cost of training infrastructure and associated operating hours,” said Matthias TechmanskyDirector of ED Mission Systems and Marek PolcakCEO of Vrgineers, adds: “A similar type of modern trainer should play a crucial role in pilot training in the future. Not only for Apache, but for Defiant (LMCO & Boeing) and Valor (Bell) which are currently under development and in competition in the future vertical lifting program in the United States”

So, for the first time ever, Vrgineers and DigiFlight will jointly showcase a conceptual MR Apache Trainer, at I/ITSEC in Orlando, Florida

SOURCE Engineers

Northrop Grumman will improve the capabilities of the UH-60V aircraft Tue, 22 Nov 2022 15:26:54 +0000

Northrop Grumman will improve the capabilities of the UH-60V aircraft

Northrop Grumman Corporation has been selected to provide engineering services for the $156.7 million, KBR-led, five-year Multi-Contract Vehicle (MAC) Analysis Center of the information from the Department of Defense (DoD IAC).

IAC MAC Task Orders are awarded by the U.S. Air Force’s 774th Enterprise Sourcing Squadron to develop and create new knowledge for the enhancement of the Defense Technical Information Center (DTIC) repository and community of research and development (R&D) and science and technology (S&T) .

“We are exploring a broad range of capabilities that will allow the UH-60V to remain relevant in the multi-domain operations environment of the future,” said Lindsay McEwen, vice president, navigation, targeting and survivability, Northrop Grumman. “Our modular and open architecture approach allows for rapid integration of enhanced capabilities.”

The UH-60V is a complete digital cockpit redesign that replaces the analogue instrumentation inherited from the UH-60L with a fully open and integrated avionics suite. The UH-60V flight architecture applies to current fleet and future vertical lift aircraft, and is expandable to Apache, Black Hawk and Chinook aircraft.

The DoD IAC, sponsored by DTIC, provides technical data management and research support for DoD and federal government users. Established in 1946, the IAC program serves the DoD S&T and acquisition communities to drive innovation and technology developments by enhancing collaboration through the integrated development and dissemination of scientific and technical information for the DoD and the community. S&T in the broad sense.

Northrop Grumman is a technology company focused on global security and human discovery. Our pioneering solutions give our customers the capabilities they need to connect, advance and protect the United States and its allies. Driven by a common goal of solving our customers’ toughest problems, our 90,000 employees define the possible every day.

Average HELOC and Home Equity Loan Rates for the week of November 17, 2022 Tue, 22 Nov 2022 01:11:04 +0000

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  • The average rate for a home equity line of credit, or HELOC, is 7.89%, jumping 19 basis points week over week.
  • A recent study shows that house prices would have to fall by 27% in order to wipe out all capital gains from homeowners who bought a house in July 2020.
  • Home equity loan and HELOC rates are expected to fluctuate in the short to medium term.

Another week, another increase in the average home equity line of credit (HELOC) rate, which has risen 57 basis points over the past two weeks.

The average home equity loan rate rose slightly after remaining flat last week.

Rates on home equity are rising alongside short-term rate increases by the Federal Reserve. In its continued attempt to calm inflation, the Fed raised its federal funds rate, most recently by 75 basis points in November.

These increases could have the desired effect. The consumer price index showed inflation at 7.7% year-on-year in October, below expectations after months above 8%. However, it is too early to tell if this will last.

While rising interest rates could push the economy into a recession, homeowners still have high levels of workable home equity, keeping foreclosures below pre-pandemic levels.

Despite a recent decline, home values ​​are expected to weather the headwind of a cooling housing market. “For the average national homeowner who bought a home in July 2020, house prices would need to drop 27% to wipe out all of their capital gains through appreciation,” according to a recent report from First American Financial Corporation, a real estate services company. .

Typically, home equity loan and HELOC rates tend to move in tandem with prime mortgage rates, Cook says.

“Many economists expect rates to stabilize, and if we were to enter a recession, rates could start to slowly decline,” says Rob Cook, vice president of marketing, digital and analytics. for Discover Home Loans. “Given all the uncertainty, however, owners should generally expect rates to remain high in the short to medium term.”

The average rate for a $30,000 HELOC is 7.89%, up 19 basis points week over week.

Here are the average home equity loan and HELOC rates as of November 16, 2022:

$30,000 HELOC 7.89% 7.70% +0.19
10-year $30,000 home equity loan 7.57% 7.57% nothing
Home equity loan of $30,000 over 15 years 7.50% 7.49% +0.01


These rates come from a survey conducted by Bankrate, which, like NextAdvisor, is owned by Red Ventures. Averages are determined from a survey of the top 10 banks in the 10 major US markets.

What are home equity loans and HELOCs?

Home equity loans and HELOCs are secured loans, which means you use the difference between the value of your home and what you owe on your mortgage as collateral. As a result, you can usually get a more competitive rate with home equity financing than with, say, a personal loan or cash refinance.

Here’s how the two products work:

Similar to a personal loan, a home equity loan allows you a single collection that you will pay over a fixed period. The fixed rate associated with home equity loans makes them attractive, especially in a rising rate environment.

HELOC, which offer borrowers a revolving line of credit, are popular for the flexibility they offer homeowners. During the draw period, you often only pay interest on what you actually used. However, HELOCs tend to have variable interest rates, which means your monthly payment is likely to change as rates go up.


Before borrowing with a home equity loan or HELOC, be sure to shop around to see who can offer you the most competitive interest rate.

What consumers need to know about home equity financing

Recent rate movements reflect the uncertainty surrounding inflation. Although the Fed is poised to slow the pace of its rate hikes, we are likely to see higher rates for longer.

“I encourage consumers to do their homework to understand the impact of current rates on their budget and financial situation,” Cook says.

If you already have a home equity loan, rate increases will not affect your monthly payments. But this is not the case for HELOCs. When borrowing with a HELOC, pay attention to changing rates so you can keep an eye on your shipping costs.

How to get home equity financing

To borrow with a home equity loan or HELOC, you will first need to complete an application with the lender of your choice. Your loan amount and interest rate will be determined based on your application.

Remember that the average rate may not be the rate you qualify for. You may end up with an interest rate above or below the average. That’s why it’s a good idea to shop around to see who can give you the best deal.

How to Use Home Equity

The most common uses for home equity loans and HELOCs are debt consolidation and home improvement projects. However, consumers can tap into the equity in their property for a number of reasons, whether it’s paying for college, a car, or a second home.

“We’re seeing strong demand for home equity loans because they offer homeowners a way to use the available equity in their homes at lower rates than alternatives,” Cook says.

Overall, experts caution against treating your home equity like an ATM. Your home is your greatest asset and resource. Any decision to exploit its own funds must be taken seriously.

Home equity loans and HELOCs can be great financial tools, if you have a clear purpose for borrowing and a comfortable repayment strategy.

Exhibition review: A Puzzlement and Las Hormigas/The Ants Mon, 21 Nov 2022 04:35:42 +0000

Personal stories mediate our engagement with the world, whether we are consciously aware of this process or not. Personal exhibitions of Nathan Beard (a perplexity) and Pilar Mata Dupont (Las Hormigas / The Ants) explore themes of memory, history and culture in unique yet complementary ways.

Both artists use film and visual art to reflect on ‘construction’, memory and identity using effective contrasts and subtle humor to illustrate their respective points.

Mata Dupont plays seriously with the premise of personal storytelling, creating a series of conscious works incorporating visual art, film and theatre. Beard draws on his Australian-Thai heritage to reflect on diasporic identity and its construction. Individually, Beard and Mata Dupont deconstruct their own cultural backgrounds, intentionally reframing their source material in various ways, like exploratory twists from a figurative kaleidoscope.

The title of Beard’s exhibition, a perplexityrefers to a song by The king and me – a Hollywood film that strongly influenced Western perceptions of Thai culture and history. In a song called “A Puzzlement”, the film’s protagonist, King Mongkut, speaks of bewilderment and determination, and hints at being stuck – being caught between past and future perspectives.

Beard’s single-channel video, also known as A Perplexity (2022)portrays a composite Thailand by engaging in historical and contemporary perspectives of fictional and documentary varieties.

Juxtaposition plays an important role in how Beard’s work is created and presented, encouraging the rejection of old perceptions and the creation of new meanings. He mocks cultural hierarchies by drawing attention to the multiple, and often contrasting, ways in which the same subject can be perceived.

Beard’s four enlarged composite photographs include close-up facial shots of the real King Mongkut’s son, Prince Chulalongkorn; a production still of Yul Brynner as King Mongkut; Terry Saunders as the Broadway version of Mongkut’s leading wife, Lady Thiang; and AFG Kerr, the founding father of Thai botany.

The four portraits are covered in blue, red and purple Swarovski crystals and set against a backdrop of Thai iconography. Black-and-white images of real people contrast with the vivid color of synthetic diamonds, highlighting Beard’s juxtaposition of unexpected combinations – real/synthetic, monochromatic/colorful, authentic/constructed.

The series of five sculptures by the artist are replicas linked by a sculpted thread, physically solid but with an impression of fluidity. Reminiscent of charms on tangled bracelets, these sculptures are larger than life and suspended in time and space. At first glance, they look like dismembered religious effigies, cut into pieces and encased in gold. Some are replicas of her mother’s Buddhist shrine statues and replicas of Wat Buddhapadipa.

Others are mass-produced Thai costumed figurines and Thai artifacts from the archives of the British Museum. Seeing old fast food toys treated with the same gilded reverence as museum artifacts and religious effigies causes the viewer to question ideas of subjective perception, intrinsic value, and extrinsic worth.

Beard, who created the works during his 2022 residency at ACME Studios in London, examines Western representations of Thailand to explore his personal cultural context, particularly in the absence of his mother; the main source of his self-proclaimed “Thainess”.

Her work critiques the expression of authenticity, drawing on Western popular culture and colonial museum archives for sources, perceived meanings and artistic inspiration.

Personal exhibition of Pilar Mata Dupont Las Hormigas / The Ants is a multimedia postmodern deconstruction of family meta-narratives. Self-referential and humorously subversive, this brilliant exhibition includes two films, six photographs and weekly improvised performances of an ever-changing absurdist play, all of which revolve around Mata Dupont’s family memories and the impossibility of finding objective truth in subjective stories.

A table read (2022) is a 58-minute, two-channel video installation centered on auditory family stories and intergenerational trauma. Edited footage of a live performance is cut with raw rehearsal footage and shown on two screens disjointly.

The Maruja (2021) is a series of six photographs and a beautifully shot single-channel video, spoken in Spanish with English subtitles. The Maruja presents the body as a container to contain trauma and speaks of the impossibility of objective understanding.

The photographs are exhibited in the PICA exhibition space, providing an example of Las Hormigas / The Ants to be a show of circular brilliance; withdrawing into itself, leaning towards dislocation, repetition and fragmentation. In the video, a jarring vibe combines with voice-over narration, and the perspective alternates between first-person POV [point of view] interiors and photos of rainy landscapes.

In an instant, audiences are immersed in the film, staring at a ceiling. In another, they learn of the psychosomatic attack of Mata Dupont’s ant-cutter great-aunt. The Maruja contains themes of misheard words and moments of mistaken memory, highlighting the tragedy of Mata Dupont’s great-great-grandmother’s deadly mastitis – which was never mastoiditis. Bass piano notes accompany the imagery of a swollen breast draped over one shoulder and the act of fingers pressing into the tissues. Then silence.

The culmination of The Hormigas is the ever-evolving play of the same title by Mata Dupont, which will be performed live every Saturday afternoon until December 17. This stunning improvisation began as part of Mata Dupont’s family fact-finding mission and morphed into an intertwining of multiple truths, expressed vicariously through three performers/co-creators, Maree Cole, Cezera Critti-Schnaars and Daisy Sanders.

Alternating from week to week, each performance of The Hormigas (2022) is a unique journey through an unreliable narrative. A deliberately uncertain start to the performance comments on the fallibility of memory and the instability of subjectivity. Repetition and reframing replicate the loops our brain gets stuck in when we suffer.

Pilar Mata Dupont. Photo: Miles Noel

The music and lighting are subtle yet atmospheric, with a strong emotional emphasis. At one point, two torches become beacons, blinding the audience while drawing them into a hypnotic fantasy reverie. In another scene, purple lights and a rhythmic beat accompany a song about medicinal oil on a tampon.

By embodying her great-great-grandmother through a video game avatar, Mata Dupont rewrites her family history to the point that she herself could cease to exist. Beginning with disorder and ending with metamorphosis, this is an absurd piece about the impossibility of creating an objective understanding of context and history.

Read: Review of the exhibition: China – The past is present

Political, beautiful, tragic and funny, Las Hormigas / The Ants offers a playful exploration of a serious subject through which Mata Dupont pays homage to her family origins in an original, comedic and self-referential critique of narrative subjectivity.

Las Hormigas / The Ants by Pilar Mata Dupont and a perplexity by Nathan Beard
Perth Institute of Contemporary Art (PICA), WA

Las Hormigas / The Ants and a perplexitywill be on display at PICA until January 8, 2023.

jetsetgo: Delhi booze scam: JetSetGo claims its planes were not used to carry cash or booze Sat, 19 Nov 2022 06:04:00 +0000 JetSetGo owner Kanika Tekriwal Reddy said on Saturday his planes were not used to transport cash or alcohol, amid reports that the chartered flight service provider’s planes were involved in the alleged Delhi liquor scam. Reddy is the wife of Sarath Chandra Reddy, a director of Aurobindo Pharma who is now in the custody of the Directorate of Law Enforcement for her alleged involvement in the scam. Sarath Chandra Reddy is said to be one of the go-betweens for bribes given to Delhi government officials and politicians.

“I strongly condemn these reports which have made baseless allegations of the use of our company’s aircraft in the alcohol scam,” Kanika said in a statement on Saturday.

She also claimed her husband was innocent and there was no evidence of his involvement.

According to reports, the Directorate of Law Enforcement (ED) has asked the company to provide details of its fleet’s flights over the past few months as it suspects an airborne money transfer. JetSetGo Aviation Services Private Limited (JetSetGo) also said its senior management and board are aware of recent media coverage and speculation regarding the use of the company’s flight services.

“While recent speculation based on hearsay is completely unwarranted and baseless, we are happy to answer any legitimate questions regarding JetSetGo’s operations,” the statement read.

The CBI and ED are investigating whether the Delhi government’s excise policy, which has now been scrapped, was designed to provide undue and illegal favors to liquor manufacturers and distributors at the expense of the public purse.

The Central Bureau of Investigation (CBI) has registered an FIR against the accused as well as some officials and agents of the Excise Department, Deputy Chief Minister Manish Sisodia and others involved in the case.

How Dominique Crenn created the food in ‘The Menu’ Thu, 17 Nov 2022 22:11:43 +0000

Ralph Fiennes in THE MENU. | Photo by Eric Zachanowich, courtesy of Searchlight Pictures

Ralph Fiennes in THE MENU. | Photo by Eric Zachanowich, courtesy of Searchlight Pictures

One of the first courses served at Hawthorn, the eerily immaculate restaurant that serves as the backdrop for Mark Mylod’s The menu, is a mound of rock topped with barely frozen seawater and crammed aquatic greenery. But this dish – like many others in the film that require tweezers to assemble and can only be described as “thalassic” – is not simply a food accessory.

Production designer Ethan Tobman (Free Guy, The Report, Chamber) collaborated with star chef Dominique Crenn to design a tasting menu that would not only help the plot descend into darkness, but also nurture the actors involved (Anya Taylor Joy, Nicholas Hoult, to name a few castings). The idea was that after devouring breadless bread plates, scissor-pierced chicken, and a few incriminating tacos, they would experience the range of emotions stirred by Seth Reiss and Will Tracy’s provocative script.

From the start of filming, the production crew knew they had to work alongside a culinary expert, and Crenn, the only female chef in the United States to earn three Michelin stars for her San Francisco restaurant, l ‘Atelier Crenn, was the first choice.

While the script described certain proteins or moods, Chef Crenn took her own creative liberties in imagining each dish. “We knew things should start off feeling very, very normal, but as the night wears on it gets a little more grotesque,” ​​Tobman told Thrillist. “And it was a delicate balance to play with Chef Crenn and his team – to start with water, then move to land-based protein, and then slowly become a little more surreal.”

Chef Dominique Crenn on THE MENU set. | Photo by Eric Zachanowich, courtesy of Searchlight Pictures

How they designed the courses in ‘The Menu’

Hawthorn is located on a coastal island in the Pacific Northwest and its leader, Chief Slowik, played by Fiennes, harvests organic forms from the surrounding ecosystem. “One of the things Chef Crenn taught me early on was the importance of vessels when preparing a dish,” says Tobman. “When you go to the Louvre and see Van Gogh, the art is of paramount importance, but the setting should also tell the story of the work.”

The sea-inspired rock dish is one of many dishes in this film that plays with the raw materials of life and death. Crenn, like Slowik, believes dishes should tell stories and describes his creation with a chilling duality. “When you go to the top of a rock, you can see the beauty, but it’s also to the top of the rock that you can fall,” she says. Tobman adds, “For me, Chef Slowik is not inspired by nature. He is haunted by nature, because nature is perfect, and he can never approach this perfection. It destroys nature creating a perfect dining experience.

In the film, Slowik reminds his guests that each individual lesson will only make sense when they have experienced the last one. It’s an idea Crenn knows well in his own restaurant, where diners are invited to take part in his own life’s journey. “It’s like a piece of music,” she explains. “When you look at a piece of music, you can see the beginning and the end, and you might think, ‘These notes don’t make sense.’ Then, suddenly, it all clicks together.” But as Crenn injects a sense of joy into his meals at Atelier Crenn, Hawthorn’s goal is to create foods that contain an emotional coldness – beautiful, but dead. .

“Chef Slowik is not inspired by nature. He is haunted by nature.

To create the lush close-ups of Slowik’s dishes, the team enlisted the help of Netflix creator David Gelb Chef’s table. “He really created a visual dictionary of how modern people think food should be slaughtered,” Tobman says. But in the fictional world of Hawthorn, where there is a strict no-photography policy, the beauty of every dish lies in its transience, and it’s a belief that Crenn subscribes to in his own restaurant. “We live in an age where photography is 24/7. For me, sometimes that’s a problem because it disconnects you from the experience that we strive to provide,” she says. “But at the same time, we also live in a world where we have to be a bit more flexible.”

The inspiration behind the kitchen

The production team took inspiration from a number of famous restaurants, past and present: Fäviken by Magnus Nilsson in Sweden; El Bulli by Ferran Adrià in Catalonia; Thomas Keller’s French laundry in Sonoma; and Noma by René Redzepi in Copenhagen. Like most trendy restaurants, Hawthorn features an open kitchen with a blazing fire.

“I really wanted to nail the idea that the chef could look at you, but you couldn’t look at the chef,” Tobman says. He built the kitchen to look like a church, with a cross on the back wall. The floor on which Slowick walks is raised, as if he were preaching from a pulpit, while the rest of the cooks work on a lower level. “It’s like they’re genuflecting,” Tobman says. “They are his followers and he is the high priest.”

Inside, Tobman wanted to honor the natural elements that are integral to any chef: fire and water. “So water should be part of the front-of-house experience and fire should be the back-of-the-house experience,” he explains. “There’s a fireplace on the wall right next to the window and the reflection makes it look like the fire is going out in the water.” The decorator even went so far as to treat the furnishings the same way a chef would treat their food. “The wood in the restaurant is charred, it’s bleached, it’s bleached, some of it is steamed,” he explains. “I wanted it to feel like Slowik was cooking the restaurant.”

To prepare for her role as Chef Slowik, Fiennes spent a lot of time on set with Crenn, absorbing how she operates in the kitchen. “It wasn’t about teaching him to cook,” she explains. “It was about him to understand the character – what it means to be a conductor.” Crenn basically showed Fiennes how to be the conductor of a symphony. “It’s all about movement, detail, music and layering,” she says. the way you enter the kitchen, by the way you look at things.

To keep things precise, Crenn held a bootcamp for the cast of the kitchen staff — which consisted of both real chefs and actors — as well as the waiters and sommelier. “It was authenticity to the teeth,” Crenn says. “It was almost like I was opening a new restaurant.” The chef felt the cast embodied the ethos of the restaurant industry: “Today may be great, but tomorrow will be even better,” she says.

“It was authenticity to the teeth…. It was almost like opening a new restaurant.

But perhaps Crenn’s greatest contribution was uncovering the psychology of a character like Slowik, who was tarnished by the incredible pressure placed on him by the food industry. Though she helped design the “Man’s Folly” course, a commentary on the industry’s inherent sexism, Crenn believes Slowik is not only damaged by the toxicity of the kitchen interior, but also by the toxicity of the outside world.

“We work 20 hours a day and after everything we do, it will take someone, who hasn’t even spent a second with us, to judge and say, ‘Ah, that’s too salty.’ It depresses us mentally. For Crenn, it was important to find a weak point in Slowik’s character. “Food is at the heart of every human being, so of course there will be some humanity there,” she says.

Ethan Tobman on the set of THE MENU. | Photo by Eric Zachanowich, courtesy of Searchlight Pictures

The final dessert scene

The final course of Chef Slowik’s meal is a restaurant-encompassing dessert, with an array of syrupy swirls and drips, not unlike the work of culinary luminaries Grant Achatz or Massimo Bottura.

“How do you make a 60 by 30 foot dessert? said Tobman, noting a remarkable challenge for the crew. “It was like a bunch of geeks running at Burning Man.”

For Tobman, the experience highlighted just how similar preparing food is to making movies. “These are fleeting experiences that have a finite amount of time. They are very structured. You have an instant family. You are creating an artificial environment. And a lot of us who work in film start out working as waiters and chefs,” he explains.

Crenn enjoyed working with Tobman so much that she hired him to work with her on the new Atelier Crenn redesign. She hopes viewers will leave this film with a little more respect for the magic that happens at the back of the house. “I want people to be careful when they go to a restaurant and understand that behind the door there are amazing people working so hard to make sure they feed us, in so many ways.”

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Jessica Sulima is a writer on Thrillist’s Food & Drink team. Follow her on Twitter and Instagram.

SBF received $1 billion in personal loans from Alameda: FTX bankruptcy filing Thu, 17 Nov 2022 15:43:52 +0000

Former FTX CEO Sam Bankman-Fried received a $1 billion personal loan from one of four silo companies deeply involved in the collapse of cryptocurrency exchange FTX.

An official statement in the pending Chapter 11 bankruptcy filings of new FTX CEO John Ray III revealed further embezzlement by Bankman Fried.

According to the filing, Alameda Research loaned $1 billion directly to Bankman-Fried, while FTX engineering director Nishad Singh also received a $543 million loan from the company.

Ray III, who was responsible for picking up the pieces after Enron’s infamous collapse, was scathing in his initial filing with the United States Bankruptcy Court for the District of Delaware.

He went so far as to describe the situation as the worst he had seen in his corporate career, pointing to “the complete failure of corporate controls” and the absence of reliable financial information:

“From the compromised integrity of systems and faulty regulatory oversight overseas, to the concentration of control in the hands of a very small group of inexperienced, unsophisticated and potentially compromised individuals, this situation is unprecedented. “

The Chapter 11 filing will seek to implement controls over accounting, auditing, cybersecurity, human resources, data protection and other systems for four groups of businesses associated with the corporate organization from FTX.

Four silos make up FTX Group

Ray III identifies four “silos”, which include a multitude of different companies that make up the FTX group. The “WRS” silo includes subsidiaries of West Realm Shires Inc., which includes FTX US, LedgerX, FTX US Derivatives, FTX US Capital Markets and Embed Clearing.

Alameda Research is a stand-alone silo in the docket with its own subsidiaries, while Clifton Bay Investments LLC and Ltd, Island Bay Ventures Inc. and debtor FTX Ventures Ltd fall under the “Ventures” silo. The “Dotcom” end silo includes FTX Trading Ltd and exchanges doing business under the umbrella.

According to Ray III’s filing, all of the silos were controlled by Bankman-Fried, while minor stakes were held by former FTX CTO Zixiao “Gary” Wang and Singh. The WRS and Dotcom silos had third-party equity investors that included a host of investment funds, endowments, sovereign wealth funds and families that were impacted by the FTX collapse.

damning accusations

The dossier contains other damning indictments of the inner workings of Bankman-Fried’s empire. The wider FTX Group failed to “maintain centralized control” of its cash, failed to maintain accurate bank account listings, and paid “insufficient attention to the creditworthiness of banking partners”.

Ray III also notes that the WRS silo was the only arm that undertook a reliable audit with a notable accounting firm. He expresses concern about the audited financials of the Dotcom silo, while finding no audited financials for the Alameda and Ventures silos.

The disbursement of funds was also highly dysfunctional, according to the record:

“For example, FTX Group employees submitted payment requests via an online ‘chat’ platform where a disparate group of supervisors approved disbursements by responding with personalized emojis.”

Ray III also notes that company funds were used to purchase homes and personal items for employees and advisers, with a lack of documentation for transactions, including loans.

The crypto guard in disarray

Custody of cryptocurrency assets was also a mess, according to the Chapter 11 filing, with inadequate records or security controls in place for FTX Group’s digital assets.

Bankman-Fried and Wang controlled access to the cryptocurrency holdings of the main group companies. Ray III describes “unacceptable practices” which include the use of an unsecured group email account to access confidential private keys and highly sensitive data for the global corporate network.

The group also failed to perform a daily reconciliation of cryptocurrency holdings and used software to conceal the misuse of customer funds. It also allowed Alameda to be secretly exempted from certain aspects of’s reverse charge protocol.

Perhaps most telling is the fact that debtors who filed for bankruptcy only secured “a fraction of the digital assets” they hoped to recover. Cold wallets containing $740 million worth of cryptocurrency have been obtained, but it is unclear which silo the funds belong to.