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Phrasal verb: go over - Day 15 with JenniferESL

Phrasal verb: go over - Day 15 with JenniferESL

Phrasal verb: see through - Day 16 with JenniferESL

Phrasal verb: work on - Day 17 with JenniferESL

Phrasal verb: doze off - Day 18 with JenniferESL

Phrasal verb: take up on - Day 19 with JenniferESL

Phrasal verb: shy away from - Day 20 with JenniferESL

Course Highlights , About the Course, Language of Instruction: English

Course Highlights
Live 60-minute class on Tuesday, February 24 at 1:00 PM (Boston time)Class recording shared after February 24, 2015Listening practice to understand the contextPronunciation practice to master the stress patternsWriting practice to gain familiarity with formal vs. informal English
About the Course

Language of Instruction: English
<iframe width="560" height="315" src="https://www.youtube.com/embed/kHeCR_FlK8s" frameborder="0" allowfullscreen></iframe>

Course Description

In this live 60-minute session, participants will gain listening, pronunciation, and writing practice. You will also have the chance to ask questions through the text chat. Interact with me and your peers.

There will be pre-class discussion and a post-class test. A recording of the session will be made available to all enrolled students.

This is an intermediate-advanced class. There will be no captions. You must have completed the playlist for the 20-day Phrasal Verb Challenge on YouTube.

Let's extend your studies and deepen your understanding of those 20 phrasal verbs!

Course Highlights , About the Course, Language of Instruction: English

Course Highlights Live 60-minute class on Tuesday, February 24 at 1:00 PM (Boston time)Class recording shared after February 24, 2015Listeni...

Live Group Class on Phrasal Verbs - Enroll today on WizIQ

U.S. System of Education - English Language Notes 2

Teacher Silence: The Holy Grail of Student Centered Learning

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Student centered learning is all the rage these days, and we agree whole-heartedly. Silent elicitation is an amazingly (free!) useful technique for reducing “Teacher Talk Time” as well as keeping students at the center of the learning process. It’s most often used for foreign language instruction, but can be generalized to work with almost any type of lessons or classroom instructions.</div>
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Essentially, elicitation is the process of getting your students to say it instead of you. “It” can be anything, a vocab word, the answer to a question from another student, the next step in a project, anything at all. The smoothest elicitors don’t even have to ask, they simply look at their class or gesture towards a student who then knows to volunteer the information. The difficulty of elicitation for the teacher depends largely on the difficulty of the question, but almost anything can be elicited if at least one person knows even part of the answer.</div>
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Sometimes, you may have to “feed” the answer to the class, but once should be enough. From then on whenever the word, fact, or step is needed, you simply wait for another student to remember what you’ve said. Here are some examples:</div>
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You hope to teach a new English word to a group of non-native speakers. The word is paper. Most of your students have at least had one or two English classes before, and you know that most classes use basic classroom words (including stationary) at one point or another, so, you just hold up a piece of paper and wait with a questioning look.</div>
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If it’s your first time eliciting, you may have to gesture largely, or even ask aloud. If your students are used to it, simply presenting the object and waiting will be enough: You’ve trained them to take responsibility over presenting new words to the class.</div>
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A student offers the word, but with incorrect pronunciation. You gesture or ask for more. Another student gives it perfectly. “Good job” or thumbs up, and you ask her to say it again. You then move between her and the whole class, and then to other individual students using her as the correct example if there’s ever a mistake.</div>
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You never say the word “paper,” but they say it many times.</div>
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<img alt="Silencio" class="alignright" height="300" src="http://farm3.staticflickr.com/2508/4173909258_68b64acc61.jpg" style="border: none rgb(225, 225, 225); box-sizing: border-box; display: block; float: right; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; height: auto; line-height: inherit; margin: 4px 0px 0px 10px; max-width: 100%; padding: 0px; position: relative; vertical-align: baseline;" width="199" /></div>
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You’re presenting an obscure, difficult, or completely new English word to the same class: Drawer. Maybe some have heard it before, but no one is confident enough to answer when you gesture questioningly. You then try to give them the first phoneme (sound) “Dr”.</div>
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No takers.</div>
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You go for the whole first syllable, slowly, “Drrrraaaaw”.</div>
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Absolute silence.</div>
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You give in, and provide them with the word, allowing the class to repeat it. You have them repeat it all together, then motion to individual students to repeat it. If a student freezes or messes up,  you go back to the whole class, then back to the student until they get it right. Masters of student centered learning who’ve taught the same class a few times can do this without saying a word other than “drawer.” Students will have learned to take cues entirely from gestures and you can motion the class through self-learning like a maestro conducting an orchestra.</div>
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If a student you’ve gestured to ever says the word incorrectly, you never correct them personally. You gesture to another student who you believe knows it, eliciting the word from them, and then returning to the student who made the mistake. If you can’t find a student to get it quite right, go back to the whole class, or, as a last resort, model it one more time.</div>
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Throughout the class, you encourage students to provide the word again and again, always enlisting other students to make corrections, and remain silent as they practice the word dozens of times.</div>
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You give instructions to a class and want to ensure that they understand before proceeding. Rather than simply stating the instructions again, you ask the students to provide the steps one after another. You also elicit whether students are correct from other students (thus doubling the number of students you check for understanding).</div>
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Just as before, if a student is ever wrong, you get the correct answer from another student, returning to the original for confirmation before moving on.</div>
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Even grammar points or complex facts can be elicited, although it takes a bit more talking:</div>
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You present the class with a picture of a man dressed as a prisoner. You then show a picture of a jail.</div>
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<em style="border: 0px rgb(225, 225, 225); box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Teacher</em>: Does he live here?</div>
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<em style="border: 0px rgb(225, 225, 225); box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Students</em>: Yes</div>
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From those five words it’s possible to get experienced classes to produce “He lives there now” (present progressive) with gestures, or:</div>
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<em style="border: 0px rgb(225, 225, 225); box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Teacher</em>: How can I tell that to a friend, “He….”</div>
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<img alt="Silence is sexy" class="alignleft" height="350" src="http://farm1.staticflickr.com/17/21686590_24bc41af60.jpg" style="border: none rgb(225, 225, 225); box-sizing: border-box; display: block; float: left; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; height: auto; line-height: inherit; margin: 4px 10px 0px 0px; max-width: 100%; padding: 0px; position: relative; vertical-align: baseline;" width="263" /></div>
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Then, show a picture of a Mansion, if you’ve developed a gesture for past tense, use it, if not:</div>
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<em style="border: 0px rgb(225, 225, 225); box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Teacher:</em> This is his old house. Does he live here now?</div>
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<em style="border: 0px rgb(225, 225, 225); box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Students: </em>No.</div>
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<em style="border: 0px rgb(225, 225, 225); box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Teacher: </em>But he did, right?</div>
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<em style="border: 0px rgb(225, 225, 225); box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Student: </em>Yes</div>
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<em style="border: 0px rgb(225, 225, 225); box-sizing: border-box; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Teacher:</em> How can I tell that to a friend, “He _____ __ live here?”</div>
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Gesturing for the two words, “used to.”</div>
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Then, you never talk again. You move through the rest of the lesson showing new pictures and having students make new sentences. “He eats bread now.” “He used to eat roast duck.” “He drinks water now.” “He used to drink wine.” Each time a new picture is presented, you put it under the mansion or the jail as appropriate.</div>
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Why is elicitation and student centered learning so great? In the above examples, you’re at least doubling the amount of times students not only hear the words, but practice saying them. You’re also doubling the amount of students you get to check for understanding. By saying nothing,  you become twice the teacher.</div>
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Teacher Silence: The Holy Grail of Student Centered Learning

Student centered learning is all the rage these days, and we agree whole-heartedly. Silent elicitation is an amazingly (free!) useful tech...

Furious 7′ International Trailer: You Ride, I Ride

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<script charset="utf-8" data-config="http://config.playwire.com/10648/videos/v2/3359253/zeus.json" data-default-hd="true" data-google-analytics="undefined" data-google-universal="undefined" data-height="400px" data-width="600px" src="http://cdn.playwire.com/bolt/js/zeus/embed.js" type="text/javascript"></script><img alt="fast furious 7 trailer vin diesel paul walker Furious 7 International Trailer: You Ride, I Ride" src="http://cdn.screenrant.com/wp-content/uploads/fast-furious-7-trailer-vin-diesel-paul-walker.jpg" /><br />
Furious 7 a.k.a. Fast and Furious 7 will finally bridge the last three installments in the racing-turned heist franchise – Fast & Furious, Fast Five, and Furious 6 – with the red-headed stepchild that is Fast and the Furious: Tokyo Drift. The post-credits scene for Furious 6 revealed the truth behind Han’s (Sung Kang) death in Tokyo Drift: that it was no racing accident, but a hit executed by the vengeful brother (Jason Statham) of Furious 6 villain Owen Shaw (Luke Evans).

Furious 6 also concluded with Dominic Toretto (Vin Diesel) and the rest of his “family” at last united and back together living in their old home turf: Los Angeles. The new international trailer for Furious 7 (which has been embedded above) follows Dom and Letty (Michelel Rodriguez) revisiting their roots in the L.A. underground (read: illegal) racing scene, before “The Sins of London” – as Dom puts it – shows up at their doorstep (almost literally), ready to wreak havoc on their lives.
Similarly, just as Dom and Letty revisit their past before the trouble starts, Furious 7 looks to briefly revisit the Fast and the Furious series’ origins as a neo-Noir action franchise – before plunging ahead into new genre territory: revenge thriller and globe-trotting covert adventure, going by the trailer footage unveiled thus far. That’s a slight change of pace from the previous two installments, which very much unfolded as heist thrillers – just set in the Fast and the Furious universe of larger than life stunts and spectacle, that is.

James Wan made the jump from directing horror films (Saw, Insidious, The Conjuring) to the world of big-budget tentpoles with Furious 7, which was again scripted by the franchise’s scribe Chris Morgan. For a while, the project had been overshadowed by the death of star Paul Walker – and the subsequent difficulties that presented the production. But now, it seems as though the movie itself is getting more attention – as many Fast and Furious fans anticipate a proper sendoff to Walker on the big screen.

fast furious 7 trailer vin diesel paul walker Furious 7 International Trailer: You Ride, I Ride

Wan and his production team on Furious 7 are, if nothing else, on course to conclude Walker’s run with the franchise on a big and bold note. The vehicle stunts and set pieces might be more ridiculous than even what’s come before (parachuting cars from planes, skyscraper-hopping), but that’s part what makes this property so popular. Meanwhile, the character plot threads and subject matter that’s provided the series with its heart appears to have been kept intact here too.

Returning for Furious 7 are Dwayne Johnson, Tyrese Gibson, Jordana Brewster, Chris ‘Ludacris’ Bridges, Elsa Pataky, and Fast and the Furious: Tokyo Drift star Lucas Black. Meanwhile, Kurt Russell will play a new character who may be setup for a larger role in Fast & Furious 8 (assuming it happens), while Ronda Rousey (The Expendables 3), Djimon Hounsou (Guardians of the Galaxy) and Nathalie Emmanuel (Game of Thrones) will also be joining in the fun here.

Furious 7 opens in U.S. theaters on April 10th, 2015.</div>

Furious 7′ International Trailer: You Ride, I Ride

Furious 7 a.k.a. Fast and Furious 7 will finally bridge the last three installments in the racing-turned heist franchise – Fast & Furi...

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Exclusive: Watch The Voice coaches perform 'Are You Gonna Go My Way'

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<em style="box-sizing: border-box;">The Voice</em> kicks off Season 8 on Feb. 23 with Adam Levine, Blake Shelton and Pharrell Williams welcoming back coach Christina Aguilera.</div>
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The coaches open the season premiere with a performance of Lenny Kravitz’s “Are You Gonna Go My Way,” and <em style="box-sizing: border-box;">EW</em> has an exclusive clip of the collaboration.</div>
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Exclusive: Watch The Voice coaches perform 'Are You Gonna Go My Way'

The Voice kicks off Season 8 on Feb. 23 with Adam Levine, Blake Shelton and Pharrell Williams welcoming back coach Christina Aguilera. ...

The Long Way Home': EW dives deep into the Buffy sequel comics

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<span style="background-color: white; color: #2090b4; font-family: Verdana, Tahoma, 'DejaVu Sans', sans-serif; font-size: 16px; line-height: 24px;"><span style="height: auto;"><img alt="" height="380" src="http://www.ew.com/sites/default/files/styles/tout_image_612x380/public/i/2015/02/20/buffy-season-8.jpg?itok=ALsWPbwp" style="box-sizing: border-box; height: auto; max-width: 100%;" title="" typeof="foaf:Image" width="612" /></span></span></div>
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<em style="box-sizing: border-box; font-family: proxima-nova, sans-serif; font-size: 16px; line-height: 1.6em;">Buffy the Vampire Slayer</em><span style="font-family: proxima-nova, sans-serif; font-size: 16px; line-height: 1.6em;"> needs little introduction. One of the most beloved television series of the mid-’90s and early aughts, Joss Whedon’s seminal TV series ran for seven seasons and 144 episodes that now live on Netflix, ready to be discovered by new fans every day. Less well-known (to those who aren’t hardcore </span><em style="box-sizing: border-box; font-family: proxima-nova, sans-serif; font-size: 16px; line-height: 1.6em;">Buffy </em><span style="font-family: proxima-nova, sans-serif; font-size: 16px; line-height: 1.6em;">fans) is that the story of Buffy and the Scoobies is still going on to this day, via Whedon-sanctioned comic books published by Dark Horse Comics.</span></div>
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Beginning with <em style="box-sizing: border-box;">Buffy: Season 8</em>, which ran for 43 issues between March of 2007 until January 2011, Joss Whedon teamed up with artists like Georges Jeanty and Karl Moline and led a team of writers from both the TV series and other acclaimed comics to tell the official story of what happens after series finale “Chosen,” which left Buffy and the gang standing over the crater where Sunnydale once stood—after destroying the Hellmouth and awakening Slayers all over the world. Currently, the comics have made it all the way to Season 10.</div>
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With all that <em style="box-sizing: border-box;">Buffy </em>just lying there waiting to be discussed, <em style="box-sizing: border-box;">EW </em>comics shaman Joshua Rivera (a huge <em style="box-sizing: border-box;">Buffy </em>fan who is diving into these comics for the first time) and ace intern Jennifer Maas (a huger <em style="box-sizing: border-box;">Buffy </em>fan who has already read them all) are teaming up to recap and discuss <em style="box-sizing: border-box;">Buffy</em>’s life after TV. In this first discussion, we talk about making the transition from television to comics and the first five issues of <em style="box-sizing: border-box;">Season 8</em>, which include the four-part “The Long Way Home” story arc and the standalone story “The Chain.” </div>
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Future columns will feature either Jennifer or Joshua taking on two arcs at a time, before we team up once more for the <i style="box-sizing: border-box;">Season 8 </i>finale. With that bit of housekeeping taken care of, let’s get to it:</div>
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<strong style="box-sizing: border-box;">JOSHUA: </strong>Let’s start at the beginning: How’d you come across <em style="box-sizing: border-box;">Buffy</em>season eight?</div>
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<strong style="box-sizing: border-box;">JENNY: </strong> I came across <em style="box-sizing: border-box;">Buffy</em> season eight at the same time as I was binge-watching <em style="box-sizing: border-box;">Buffy</em> on Netflix in 2011, several years after the show went off the air. I knew I would be out of episodes soon, and my brother, who had forced me to finally get around to watching the show, told me, “You know, they continued it in comics.”</div>
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Suddenly, I wasn’t scared to get to the end of season 7.</div>
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<strong style="box-sizing: border-box; line-height: 1.6em;">JOSHUA: </strong><span style="box-sizing: border-box; line-height: 1.6em;">Was it your first comic book?</span></div>
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<strong style="box-sizing: border-box;">JENNY:</strong> Comic book, yes. I read graphic novels in college—<em style="box-sizing: border-box;">Maus</em> I and II and <em style="box-sizing: border-box;">Logicomix</em>, which was an assignment given to me by my philosophy major boyfriend. So, yes. Pretty much first comic.</div>
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<strong style="box-sizing: border-box; line-height: 1.6em;">JOSHUA: </strong><span style="box-sizing: border-box; line-height: 1.6em;">Gotcha. I’m curious then—how did the experience of reading a </span><em style="box-sizing: border-box; line-height: 1.6em;">Buffy</em><span style="box-sizing: border-box; line-height: 1.6em;"> comic measure up to watching the series? Were you pleased? Did it take some getting used to? </span></div>
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<strong style="box-sizing: border-box;">JENNY: </strong>You know, it took a little getting used to at first, because l was skeptical of looking at the characters as “cartoons.” But that went away really fast as the art is sophisticated and they look like themselves. They are not cartoons. I see the characters, just as if they were still on TV. But the thing that really put me at ease was the trademark <em style="box-sizing: border-box;">Buffy</em>-speak. The characters were still themselves. They talked like themselves. They did what you would expect them to do. That made it enjoyable from the beginning. I began to appreciate the level of detail in the art more and more—and then looking at them as pictures didn’t bother me.</div>
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<strong style="box-sizing: border-box;">JOSHUA: </strong>Oh yeah—Whedon keeps all of the characters intact in the transition, and while I’m only reading them for the first time, I understand that future writers do a really good job of staying true to their voices as well.</div>
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<strong style="box-sizing: border-box;">JENNY: </strong>Yes, they really do. This first arc was penned by Joss himself, and several more have been since. He’s the “executive producer.” The comics always keep <em style="box-sizing: border-box;">Buffy</em> true to what it was. I think there wouldn’t be a point in continuing it if that weren’t true.</div>
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<strong style="box-sizing: border-box;">JOSHUA:</strong> He also assembles a dream team of former Buffy writers and legendary comic scribes like Brian K. Vaughan, which is really exciting.</div>
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What I thought was interesting about this first arc—and we’re talking the first five issues, which covers Season 8’s first storyline, “The Long Way Home,” along with the standalone story “The Chain”—was how it immediately picks up where the show left off, but also proceeds to do stuff you’d <em style="box-sizing: border-box;">never</em> see on the show, mostly because of budget restriction.</div>
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<strong style="box-sizing: border-box; line-height: 1.6em;">JENNY: </strong><span style="box-sizing: border-box; line-height: 1.6em;">Yes. That is one of the things I had to realize on my own, oddly enough, as I proceeded with the season. </span><em style="box-sizing: border-box; line-height: 1.6em;">Why are they doing these stories they’d never done before? Wouldn’t that have been cool to do in Season 4? </em><span style="box-sizing: border-box; line-height: 1.6em;">Oh, it’s because <em style="box-sizing: border-box;">drawing</em> that is easier than building that.</span></div>
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<strong style="box-sizing: border-box;">JOSHUA: </strong>Exactly! So you get stuff like Giant Dawn (yup, that happens), and you’re like “This is weird!” But it also works, because it’s rooted in her relationship with Buffy after all that’s happened—which is a totally <em style="box-sizing: border-box;">Buffy</em> thing to do</div>
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<strong style="box-sizing: border-box;">JENNY: </strong>Yes. A completely <em style="box-sizing: border-box;">Buffy</em> thing to do, and also to have Buffy talk down to Dawn as if she’s still a child when Dawn is this giant (and college-aged, as the book mentions she was attending Berkeley) is so funny, and so <em style="box-sizing: border-box;">Buffy</em>.</div>
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<strong style="box-sizing: border-box;">JOSHUA: </strong>Which is a good segue to actually talking about what happens in this first arc. One thing I really like is how it slowly eases us back into things. It’s really restrained, and doesn’t just throw everyone at us at once.</div>
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<span style="box-sizing: border-box; line-height: 1.6em;">So, now Buffy and the Scoobies have all started training a giant Slayer army after awakening them all in the season 7 finale, “Chosen,” and the world is fundamentally changed—both because of that, and because, you know</span><em style="box-sizing: border-box; line-height: 1.6em;">—</em><span style="box-sizing: border-box; line-height: 1.6em;">she sorta blew up her town.</span></div>
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<strong style="box-sizing: border-box;">JENNY:</strong> Yes, we pick up in what we can estimate is at least a year after Sunnydale exploded.</div>
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Buffy and the Scoobies have identified thousands of slayers around the world because of what happened at the end of Season 7. And the world is very much a different place. Our little Scooby gang is a different group—they have a “headquarters” that is an actual top-notch facility and not a school library.</div>
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<strong style="box-sizing: border-box;">JOSHUA: </strong>Yeah! They’re like the X-Men now!</div>
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<strong style="box-sizing: border-box;">JENNY: </strong>Yes, or S.H.I.EL.D., as Xander (with his eyepatch) refers to when he calls himself Nick Fury</div>
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<strong style="box-sizing: border-box; line-height: 1.6em;">JOSHUA: </strong><span style="box-sizing: border-box; line-height: 1.6em;">Fun fact: Whedon had actually written X-Men for about two years just before starting season 8.</span></div>
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<strong style="box-sizing: border-box;">JENNY: </strong>Really? I did not know that.</div>
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<strong style="box-sizing: border-box;">JOSHUA: </strong>Yeah! It’s really good. <em style="box-sizing: border-box;">Astonishing X-Men</em> #1-24</div>
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<strong style="box-sizing: border-box;">JENNY: </strong>I mean it makes sense, he was already making <em style="box-sizing: border-box;">Angel</em> and<em style="box-sizing: border-box;">Buffy</em> comics while both series were on. Never say the man is limited to one medium.</div>
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<strong style="box-sizing: border-box;">JOSHUA:</strong> Indeed! So how do you like the Scoobies as a giant superteam of Slayers that the military is threatened by? Are you into it?</div>
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<strong style="box-sizing: border-box;">JENNY: </strong>You know, it’s something new and different, which is always good. Every season of <em style="box-sizing: border-box;">Buffy</em> was different—I would think this is just the most different. It didn’t have the limits others do.</div>
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<strong style="box-sizing: border-box;">JOSHUA: </strong>Yeah. It’s particularly interesting because I’d always seen Buffy as a superhero show—its structure was very comic-booky, so it’s interesting to see it come full circle and be a full-blown superhero comic.</div>
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<strong style="box-sizing: border-box;">JENNY: </strong>It is. And it is actually less overwhelming than you would think, as Season 7 was all about making the team bigger. Bringing in more and more Slayers, even before they were tapped.</div>
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<strong style="box-sizing: border-box;">JOSHUA: </strong>Okay, so—having read all of Season 8 (unlike myself), what do you like most about it?</div>
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<strong style="box-sizing: border-box; line-height: 1.6em;">JENNY: </strong><span style="box-sizing: border-box; line-height: 1.6em;">I think it would be getting the chance to see how much the characters have changed since Season 7—but in ways that make sense for their overall development. Seeing Buffy try and stick with her standard “I need to do this alone, because I’m the Slayer,” motto—but knowing that isn’t the case anymore with her giant team behind her—and having to adapt to that. Seeing Willow become in control of her magic again, after not being afraid to use it in the finale of Season 7. Meeting the new characters they introduce is great too. And I also love this season’s Big Bad.</span></div>
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<strong style="box-sizing: border-box;">JOSHUA: </strong>Yes, the Big Bad! Without spoiling anything, is it the one we’ve met in this first arc?</div>
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<strong style="box-sizing: border-box;">JENNY </strong>It is not the Initiative-like army team or their general. It is one person who the general did make reference to. And that person is related to the mysterious symbol we saw on his chest here and at other points throughout the arc.</div>
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<strong style="box-sizing: border-box; line-height: 1.6em;">JOSHUA: </strong><span style="box-sizing: border-box; line-height: 1.6em;">Got it! I’m so excited to be finally starting this.</span></div>
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<strong style="box-sizing: border-box;">JENNY: </strong>Yes, it is gonna be a fun ride. Seeing the team back in action is great on its own. But seeing them do things we would never have seen them do in the live action show is even better in some ways.</div>
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<strong style="box-sizing: border-box;">JOSHUA: </strong>Absolutely.  Do you have a favorite arc in Season 8?</div>
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<strong style="box-sizing: border-box;">JENNY: </strong>I don’t want to give away anything about the Big Bad by saying my favorite, which is one of the last arcs. So I will say my second favorite is <em style="box-sizing: border-box;">Time of Your Life</em>. It ties in with another Buffyverse comic, <em style="box-sizing: border-box;">Fray</em>, that’s set in the future. We see what the future is like for slayers.</div>
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<strong style="box-sizing: border-box;">JOSHUA:</strong> Can. Not. Wait. </div>
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<em style="box-sizing: border-box;">Come back next Friday, where Joshua Rivera will take on the second and third arc of </em>Season 8<em style="box-sizing: border-box;">: “No Future for You,” and “Wolves at the Gate”— issues #6-#15.</em></div>
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The Long Way Home': EW dives deep into the Buffy sequel comics

Buffy the Vampire Slayer needs little introduction. One of the most beloved television series of the mid-’90s and early aughts, Joss ...

Teased By Oscar: Actors With Multiple Nominations and No Wins (So Far)

A Wedding

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Today’s the day Britney and Santana say “I do” in the exact same barn Britney was born. Let’s put the details of that disturbing reality aside, and focus on the fact that a <em style="box-sizing: border-box;">Glee</em> wedding means a <em style="box-sizing: border-box;">Glee</em>reunion! As with any nuptials, the brides want to be surrounded by those who love them. We see familiar faces intermingled with the new, beloved family members fraternizing with coaches in track suits, and unexpected attendants boldly taking the stage wearing brightly colored fringe and dapper tuxedoes. Add Burt Hummel into the mix as the officiant, and you have a recipe for a memorable wedding. Mazel tov to the two crazy kids!</div>
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A Wedding

Today’s the day Britney and Santana say “I do” in the exact same barn Britney was born. Let’s put the details of that disturbing reality ...

This month in comics: Thor takes a hammer to critics who say feminists 'ruin everything'

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<em class="image-credit" style="box-sizing: border-box;">(Marvel Entertainment)</em></div>
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<span style="font-family: Arial, Helvetica, Nimbus Sans L, sans-serif;"><span style="font-size: 13.6000003814697px; line-height: 17px;"> </span></span><span style="font-family: proxima-nova, sans-serif; font-size: 16px; line-height: 1.6em;">Back in July, Marvel made waves by announcing—on</span><span style="font-family: proxima-nova, sans-serif; font-size: 16px; line-height: 1.6em;"> </span><em style="box-sizing: border-box; font-family: proxima-nova, sans-serif; font-size: 16px; line-height: 1.6em;">The View</em><span style="font-family: proxima-nova, sans-serif; font-size: 16px; line-height: 1.6em;">, of all places—that their iconic character Thor</span><span style="font-family: proxima-nova, sans-serif; font-size: 16px; line-height: 1.6em;"> </span><span style="color: #0177c2; font-family: proxima-nova, sans-serif;"><span style="box-sizing: border-box; line-height: 1.6em;">was being replaced by a woman</span></span><span style="font-family: proxima-nova, sans-serif; font-size: 16px; line-height: 1.6em;">. Of course, people made a Big Deal out of this, because that’s what Marvel wanted. Marvel’s announcement was a deliberately provocative move meant to garner goodwill among those seeking better representation in comics, and incite heated debate among not so open-minded.</span></div>
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Of course, a whole mess of people who normally didn’t have much to say about comics suddenly had lots to say—like Tucker Carlson of<em style="box-sizing: border-box;">Fox & Friends</em>, who bemoaned that <span style="color: #0177c2;"><span style="box-sizing: border-box;">Thor was now “a chick.”</span></span> But it’s a sentiment that was shared by a number of vocal comics fans who decried the decision as <span style="color: #0177c2;"><span style="box-sizing: border-box;">“political correctness run amok</span></span>,” ruining the character for the sake of some sort of agenda. </div>
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Well, here’s a funny story: the <em style="box-sizing: border-box;">Thor</em> creative team has heard these criticisms, and has addressed them explicitly In this month’s <em style="box-sizing: border-box;">Thor #5,</em>where a villain (The Absorbing Man) finds out that the new Thor is a woman, and says that “feminists are ruining everything.” Then Thor breaks his jaw. </div>
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Image Credit: Marvel</div>
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It’s a pretty great moment, one that’s cartoonishly on the nose when taken out of context, but hilarious when you’re aware of the criticism the <em style="box-sizing: border-box;">Thor</em> creative team has been getting over the story. </div>
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Image Credit: Marvel</div>
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In the media circus that surrounded the new <em style="box-sizing: border-box;">Thor</em>, what was often lost in the discussion were the story reasons for the decision—whether or not you ascribe to the more cynical, mercenary view that dictates this was nothing but a shallow marketing ploy (which is silly, because comic books, like most commercial art forms, exist to make money)—that the new Thor’s origin was a direct extension of the epic story writer Jason Aaron had been telling in <em style="box-sizing: border-box;">Thor: God of Thunder</em>, for over two years.</div>
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The circumstances leading to new Thor spin out of Marvel’s big<em style="box-sizing: border-box;">Original Sin </em>crossover, in which many Marvel heroes came to learn dark buried secrets about their past. One of these was something whispered to Thor—something we still don’t know—that rendered him unworthy of Mjolnir, his enchanted hammer. Unable to lift it, Thor began calling himself by his family name, Odinson, and Mjolnir sat where he left it, on the moon—until a mysterious woman picked it up. </div>
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Throughout Jason Aaron’s <em style="box-sizing: border-box;">Thor </em>run, the writer has been fascinated by the idea of a superhero that’s also a deity, exploring Thor in his youth and old age, his place in the Nine Realms, his connection with Earth and its inhabitants. </div>
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With the new Thor (who is not even the first new Thor—a number of people have wielded the hammer, namely Storm of the X-Men and a horse-like alien named Beta Ray Bill), Aaron continues to examine the character he started writing over two years ago, but also revisits an old idea that Lee and Kirby had when they first introduced the character decades ago—that the role of “God(dess) of Thunder” is something separate from person who fulfills it. </div>
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<span style="box-sizing: border-box; line-height: 1.6em;">The new Thor’s thought bubbles aren’t in that dignified fantasy-speak she (involuntarily) uses when she speaks as Thor,  but in normal, conversational English. She doesn’t quite know </span><em style="box-sizing: border-box; line-height: 1.6em;">why</em><span style="box-sizing: border-box; line-height: 1.6em;"> she’s Thor, but she knows what she </span><em style="box-sizing: border-box; line-height: 1.6em;">should</em><span style="box-sizing: border-box; line-height: 1.6em;"> </span><em style="box-sizing: border-box; line-height: 1.6em;">be</em><span style="box-sizing: border-box; line-height: 1.6em;"> as Thor. Comics love stories about legacy, and a legacy inherited by someone that others don’t deem worthy of it is a common trope in such stories. That some pundits and comic book fans take equal affront to this new Thor makes for a fascinating (albeit frustrating) layer of metacommentary that makes this run feel necessary and timely.</span></div>
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Of course, it would all be for naught if the comics weren’t any good. So five months into the new <em style="box-sizing: border-box;">Thor</em>, is it? Hell yes. Pardon me— I meant<em style="box-sizing: border-box;">Hel</em> yes (Asgard jokes). Aaron’s run on the character is one of the greats, and the artists he’s been working with—namely Esad Ribic and Russell Dauterman—have been producing absolutely stunning art that’s been a joy to pour over every month.</div>
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<span style="box-sizing: border-box; line-height: 1.6em;">Really, there’s only one frustrating element to it—we </span><em style="box-sizing: border-box; line-height: 1.6em;">still</em><span style="box-sizing: border-box; line-height: 1.6em;"> don’t know who the new Thor really is, and won’t find out until issue #8 in May. (However, it’s almost certainly Roz Solomon, a S.H.I.E.L.D. agent that’s been featured heavily on Aaron’s run and conspicuously absent since new Thor took over). </span></div>
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If you haven’t been reading these comics, give them a shot. Go back to <em style="box-sizing: border-box;">Thor</em>:<em style="box-sizing: border-box;"> God of Thunder</em> #1, see everything that Aaron and Ribic did with the character. Read about Gorr, the God Butcher. See Thor when he was young and brash and didn’t have a hammer, but a giant-ass ax. Check out how cool he looks at the end of time, as a lonely one-armed king standing against encroaching darkness. </div>
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Then see what happens when he loses his hammer, and it is picked up by another—because there must always be a Thor. Whoever this one is, she’s pretty great. </div>
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This month in comics: Thor takes a hammer to critics who say feminists 'ruin everything'

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Magnificent Obsessions’ Show at the Barbican Explores Portraits of the Artist as Collector

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LONDON — Their works may be coveted by collectors, but artists often have a predilection for building eccentric collections of their own. Many like to pick up bric-a-brac from curiosity shops, market stalls and auction houses. Predictably enough, Damien Hirst owns skulls and stuffed animals. Less widely known is that Peter Blake hoards vintage shop signs, while Martin Parr boasts an impressive collection of Soviet souvenirs.</div>
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“Magnificent Obsessions: The Artist as Collector” features these artists and 11 others in an exhibition of miscellany at the Barbican Art Gallery here through May 25. Spread over two levels, the show presents about 8,000 objects from the artists’ personal collections. Most are exhibited just as the artist keeps them, in an environment that resembles the artist’s studio, and next to one or more examples of his or her art.</div>
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Not every display has the same thrift-shop, idiosyncratic feel hinted at in the exhibition’s title. Yet “Magnificent Obsessions” does demonstrate that collecting is a trait shared by many artists — and one that offers interesting clues to their work.</div>
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<figure aria-label="media" class="media photo embedded has-adjacency has-lede-adjacency layout-large-horizontal media-100000003519316 ratio-tall" data-media-action="modal" id="media-100000003519316" itemid="http://static01.nyt.com/images/2015/02/19/arts/international/19iht-barbican19C/19iht-barbican19C-articleLarge.jpg" itemprop="associatedMedia" itemscope="" itemtype="http://schema.org/ImageObject" role="group" style="background-color: white; color: #333333; font-family: nyt-cheltenham, georgia, 'times new roman', times, serif; font-size: 16px; margin: 45px 0px 45px 120px; position: relative; width: 495px;"><span class="visually-hidden" style="border: 0px; clip: rect(0px 0px 0px 0px); height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute; width: 1px;">Photo</span><div class="image" style="cursor: pointer; margin-bottom: 7px; position: relative; width: 495px;">
<img alt="" class="media-viewer-candidate" data-mediaviewer-caption="Part of Peter Blake&rsquo;s doll collection." data-mediaviewer-credit="Peter Macdiarmid/Getty Images" data-mediaviewer-src="http://static01.nyt.com/images/2015/02/19/arts/international/19iht-barbican19C/19iht-barbican19C-superJumbo.jpg" itemid="http://static01.nyt.com/images/2015/02/19/arts/international/19iht-barbican19C/19iht-barbican19C-articleLarge.jpg" itemprop="url" src="http://static01.nyt.com/images/2015/02/19/arts/international/19iht-barbican19C/19iht-barbican19C-articleLarge.jpg" style="display: block; height: auto; max-width: 100%; width: 495px;" /></div>
<figcaption class="caption" itemprop="caption description" style="color: #666666; font-family: nyt-cheltenham-sh, georgia, 'times new roman', times, serif; font-size: 0.8125rem; line-height: 1.0625rem;"><span class="caption-text">Part of Peter Blake’s doll collection.</span> <span class="credit" itemprop="copyrightHolder" style="color: #999999; display: inline-block; font-size: 0.6875rem; line-height: 1rem;"><span class="visually-hidden" style="border: 0px; clip: rect(0px 0px 0px 0px); height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute; width: 1px;">Credit</span>Peter Macdiarmid/Getty Images</span></figcaption></figure><br />
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The idea for the exhibition came to the Barbican curator Lydia Yee a few years ago, she said, after she noticed objects in artists’ studios that were not being used in their work. Persuading them to lend the paraphernalia “wasn’t straightforward,” she noted, as those collections were not meant for public display. Organizing the show allowed her “to get behind the thought process of an artist,” she said, “to think the way they think, and to look at the world in their eyes.”</div>
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Mr. Blake, 82, the British Pop Art pioneer famous for the Beatles’ 1967 “Sgt. Pepper’s Lonely Hearts Club Band” album cover, comes across as one of the exhibition’s most formidable hoarders. “Most people collect something: I think it’s a natural instinct, even if it’s only shoes that you wear,” he said in a telephone interview. “Sometimes it works to a degree where it’s almost a disease.”</div>
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His own collecting habits can safely be described as obsessive. “I used to go to markets at five in the morning to try and get things before other people could get them,” he said. The dozens of items in his display are a hodgepodge with no overarching logic. They include musket balls fired during the 1643 siege of Arundel Castle (in their original Victorian cabinet of curiosities); a stuffed hare with the horns of another creature weirdly tacked on; old signage (“Wallpaper, Glass & Colour Department”), and elephant figurines.</div>
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Mr. Blake was only 7 when World War II broke out, and he said he went through childhood with little to play with besides bird eggs. As a result, he said, for decades afterward he frantically bought objects. These appear occasionally in his art. One car-related sign originally slated for the Barbican exhibition was unavailable because Mr. Blake had incorporated it into another work, curators said. The only Blake work on show, “Kamikaze” (1965), is an acrylic-and-collage-on board piece incorporating a toy airplane, a mask and postcards.</div>
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In the case of Mr. Hirst, the link between the collecting and the art is even more evident. Famous for creating works with dead animals (like sharks in formaldehyde), he has lent items to the Barbican that include a majestic Somali stuffed lion (c. 1880), a stuffed vulture (c. 1920), and a large human skull. The Hirst artwork in the show, “Last Kingdom” (2012), is a large, mirrored cabinet of attractively displayed butterflies, beetles and other entomological specimens.</div>
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Ms. Yee said that one participant who took little persuasion to join the show was Edmund de Waal, perhaps because he is better known for his collection of carved Japanese netsuke figurines (kimono toggles) than for his pottery. In his best-selling 2010 memoir, “The Hare With Amber Eyes,” he traces the dramatic trajectory of the figurines, which he inherited from wealthy Jewish ancestors who were dispossessed during World War II.</div>
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<figure aria-label="media" class="media photo embedded has-adjacency layout-large-horizontal media-100000003525629" data-media-action="modal" id="media-100000003525629" itemid="http://static01.nyt.com/images/2015/02/21/arts/21BARBICANJP/21BARBICANJP-articleLarge.jpg" itemprop="associatedMedia" itemscope="" itemtype="http://schema.org/ImageObject" role="group" style="background-color: white; color: #333333; font-family: nyt-cheltenham, georgia, 'times new roman', times, serif; font-size: 16px; margin: 45px 0px 45px 120px; position: relative; width: 495px;"><span class="visually-hidden" style="border: 0px; clip: rect(0px 0px 0px 0px); height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute; width: 1px;">Photo</span><div class="image" style="cursor: pointer; margin-bottom: 7px; position: relative; width: 495px;">
<img alt="" class="media-viewer-candidate" data-mediaviewer-caption="The California multimedia artist Pae White at the Barbican with her Vera Neumann scarves. The show features the collections of two women (the other is Hanne Darboven) and 12 men." data-mediaviewer-credit="Peter Macdiarmid/Getty Images" data-mediaviewer-src="http://static01.nyt.com/images/2015/02/21/arts/21BARBICANJP/21BARBICANJP-superJumbo.jpg" itemid="http://static01.nyt.com/images/2015/02/21/arts/21BARBICANJP/21BARBICANJP-articleLarge.jpg" itemprop="url" src="http://static01.nyt.com/images/2015/02/21/arts/21BARBICANJP/21BARBICANJP-articleLarge.jpg" style="display: block; height: auto; max-width: 100%; width: 495px;" /></div>
<figcaption class="caption" itemprop="caption description" style="color: #666666; font-family: nyt-cheltenham-sh, georgia, 'times new roman', times, serif; font-size: 0.8125rem; line-height: 1.0625rem;"><span class="caption-text">The California multimedia artist Pae White at the Barbican with her Vera Neumann scarves. The show features the collections of two women (the other is Hanne Darboven) and 12 men.</span> <span class="credit" itemprop="copyrightHolder" style="color: #999999; display: inline-block; font-size: 0.6875rem; line-height: 1rem;"><span class="visually-hidden" style="border: 0px; clip: rect(0px 0px 0px 0px); height: 1px; margin: -1px; overflow: hidden; padding: 0px; position: absolute; width: 1px;">Credit</span>Peter Macdiarmid/Getty Images</span></figcaption></figure><br />
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Many of the netsuke are now at the Barbican show. So are fossils, coins and medals, Victorian toothpicks and other odds and ends that Mr. de Waal lovingly arranged and rearranged in a vitrine in his childhood bedroom. His artwork is not unlike that early display case. In the show is his “From the Collection of a Private Man” (2011), a white wall cabinet filled with precisely arranged immaculate porcelain pots. “Collecting is a kind of poetry: It’s a shuffling around of objects and spaces until they make sense,” he said in a phone interview.</div>
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In some cases, collecting becomes a way of prolonging childhood, Ms. Yee said, “the moment where we have the most creative freedom in our lives, are able to try things out, arrange our worlds.” Artists can make it last without feeling self-conscious, she added.</div>
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<span style="color: #326891;">Andy Warhol</span> is a perfect (and well-known) example. A vast shelving unit in the exhibition is stocked with his gleaming cookie jars, ceramic containers shaped like a clock, a rocking horse or a panda. These and other objects that he accumulated “signified comfort, family life, stability,” Ms. Yee said.</div>
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The other series that suggests childlike enchantment belongs to Mr. Parr. His cigarette cases, clocks and tin confectionary boxes bear images of the stray dogs that the Soviet Union sent on space missions in the 1950s. With names like Laika, Belka and Strelka, the happy-looking hounds are depicted wearing colorful life vests, sometimes with tongues hanging out. Mr. Parr, whose photographs are often sarcastic portrayals of leisure and tourism, is drawn to image-based, mass-produced objects that have political connotations, Ms. Yee said.</div>
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Of the 14 artists in the exhibition, only two are women: the California multimedia artist Pae White and the German conceptual artist Hanne Darboven, who died in 2009. Ms. Yee said she had wanted to include more women, but had found that “the person who is more likely to focus in a very singular manner on a particular type of acquisition often tends to be male.”</div>
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That left Ms. White as the only living woman in the show. “I’ve never considered that a male impulse — buying cheap, beautiful things,” she said of the divide suggested by Ms. Yee.</div>
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Ms. White’s display is an installation of colorful patterned textiles by the designer Vera Neumann hung like pennants on slanting rows of stretched wire. The collection started with two scarves bought from a thrift store and now contains more than 3,000 pieces.</div>
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Why collect? “It’s small victories on a regular basis,” Ms. White said, pointing to the textiles. “If nothing has gone well that day, you got this 59-cent scarf unexpectedly, on the way to the bank.”</div>
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