In October 2016, Amazon Music released a music streaming service called "Amazon Music Unlimited." Unlike Prime Music with its somewhat limited catalog, this stand-alone music streaming service has "tens of millions" of songs and is intended to compete with music streaming leaders such as Spotify and Pandora Radio. It has a similar price structure, albeit with a $2/month discount for Amazon Prime members.
Beginning with cinema’s most obvious dick joke and ending on the its two directors burning everything, including its anti-hero, to the ground, the sequel to Crank is as much of a mindfuck as its predecessor, but beholden to absolutely nothing but the unfiltered expunging of their most loathsome impulses on behalf of directors Mark Neveldine and Brian Taylor, two unrepentant dude-bros who, considering the movies they made together, seem to have parted ways, perhaps on bad terms or perhaps because the two grown men who made Gamer and Ghost Rider 2 just had nowhere left to go together. Like any good follow-up, Crank 2 is everything that Crank was, but launched irretrievably down a hellish K-hole, amping up all the public sex, murder, violence, gratuitous nudity, nihilism and genre-bending fuck-all spirit that made the first such a potential point of cult fascination. Here, Jason Statham’s Chev Chelios has transformed into full-on superhero—minus the “hero” connotation—an invulnerable, inhuman cyborg who must regularly pump enough electricity into his body to kill a herd of elephants just to keep his battery-powered heart beating as he chases after the Chinese mobsters who stole his original God-given ticker and (almost) the big ole monster between his legs. There is nothing subtle about Crank 2; there is only submission. —Dom Sinacola
There need not be a documentary about the Syrian catastrophe to rally the world around its cause—just as, in Matthew Heineman’s previous film, Cartel Land, there was no need to vilify the world of Mexican cartels or the DEA or the paramilitaristic nationalists patrolling our Southern borders to confirm that murder and drug trafficking are bad. The threats are known and the stakes understood, at least conceptually. And yet, by offering dedicated, deeply intimate portraits of the people caught up in these crises, Heineman complicates them beyond all repair, placing himself in undoubtedly death-defying situations to offer a perspective whose only bias is instinctual. So it is with City of Ghosts, in which he follows members of Raqqa is Being Slaughtered Silently, a group committed to using citizen-based journalism to expose the otherwise covered-up atrocities committed by ISIS and the Assad regime in Syria. In hiding, in Turkey and Germany and at an event for journalists in the U.S.—in exile—these men, who Heineman characterizes as a very young and even more reluctant resistance, tell of both the increasingly sophisticated multimedia methods of ISIS and their hopes for feeling safe enough to settle and start a family with equal trepidation about what they’ve conditioned themselves to never believe: That perhaps they’ll never be safe. Heineman could have easily bore witness to the atrocities himself, watching these men as they watch, over and over, videos of their loved ones executed by ISIS, a piquant punishment for their crimes of resistance. There is much to be said about the responsibility of seeing in our world today, after all. Instead, while City of Ghosts shares plenty of horrifying images, the director more often that not shields the audience from the graphic details, choosing to focus his up-close camera work on the faces of these men as they take on the responsibility of bearing witness, steeling themselves for a potential lifetime of horror in which everything they know and love will be taken from them. By the time Heineman joins these men as they receive the 2015 International Press Freedom Award for their work, the clapping, beaming journalists in the audience practically indict themselves, unable to see how these Syrian men want to be doing anything but what they feel they must, reinforcing the notion that what seems to count as international reportage anymore is the exact kind of lack of nuance that Heineman so beautifully, empathetically wants to call out. —Dom Sinacola
The revamped Echo Plus looks much closer in design to the standard, cloth-covered Echo for a friendlier appearance in your living room. It’s got better sound and, like last year’s model, can act as a hub for your smart home gadgets. There’s also an integrated temperature sensor that can trigger Alexa routines based on a room’s temperature. Priced at the same $149.99, the Echo Plus goes up for preorder today and ships in October.
Anyone who spends much time on the Amazon site can see the answer to that question. The company now has roughly 100 private label brands for sale on its huge online marketplace, of which more than five dozen have been introduced in the past year alone. But few of those are sold under the Amazon brand. Instead, they have been given a variety of anodyne, disposable names like Spotted Zebra (kids clothes), Good Brief (men’s underwear), Wag (dog food) and Rivet (home furnishings). Want to buy a stylish but affordable cap-sleeve dress? A flared version from Lark & Ro ($39), maybe in millennial pink, might be just what you’re looking for.
So read this book with the understanding that Underhill is a pretty good anthropologically-trained note taker,whose observations have turned up several things of interest to the retailer, at the same time that he is a pathetically bad business consultant and would-be futurist, with a pathological need to self-promote and a very annoying prose style.
In August 2007, Amazon announced AmazonFresh, a grocery service offering perishable and nonperishable foods. Customers could have orders delivered to their homes at dawn or during a specified daytime window. Delivery was initially restricted to residents of Mercer Island, Washington, and was later expanded to several ZIP codes in Seattle proper. AmazonFresh also operated pick-up locations in the suburbs of Bellevue and Kirkland from summer 2007 through early 2008.