Amazon Key In-Car is a service allowing owners of vehicles with OnStar (that are 2015+ models) or Volvo on Call, to get packages delivered in their vehicle's trunk. The service is available in the same areas as Amazon Key's In-Home delivery, but requires no additional hardware. Customers are provided with a four-hour delivery window. During that time, their vehicle must be located in a publicly accessible area.
In April 2014, Amazon began a service for shipping non-perishable grocery store items into a single box for delivery for a flat fee. The service is available in the United States, the United Kingdom, Germany, Austria, India, Japan, Italy, Spain, and France. This is an Amazon Prime member exclusive service that helps prime subscribers purchase household goods and get them delivered super-fast. At a flat rate of $6, Amazon Prime members can enjoy shipping a box of "pantries" to their homes. As you shop, Amazon quantifies the space each item takes up so that you can assess the number of boxes you need before check off and shipping.
Students can also benefit from Amazon Prime. If you're a two- or four-year college student with a valid .edu email, you can get a free six-month trial of Amazon Prime Student, which gets you all of the benefits of Prime in addition to special student-specific deals and coupons. After your trial ends, Prime Student will cost you half the price of a regular Prime membership for up to four years or until you graduate, whichever comes first. You can also pay $6.49 per month with no obligation to continue your service.
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
Brian Sheehan, who teaches advertising at Syracuse University, said Amazon's tactics are "fair game," at least until the U.S. regulators determine otherwise. While it's common for big-box retailers to launch private-label brands based on what sells best in their stores, Amazon could be viewed differently because of its size and level of influence, he said.
The biggest thing that Amazon has to offer in November is intriguing new series, Homecoming. Homecoming comes from Mr. Robot creator Sam Esmail, stars Julia Roberts, and is based on a podcast. That's quite the trifecta of Interesting Things (TM). Other new Amazon original series include the less hyped but equally interesting Mirzapur, Inside Joke, and Patriot Season 2.
This implies that growth in Prime membership will underpin Amazon’s expansion into clothing and footwear. However, Prime membership levels are already high in the US, suggesting that they could plateau in the coming years. Some 43% of those surveyed said that they already have a personal Prime membership and a further 21% said that they have access to Prime benefits through someone else in their household. So, Amazon may need to focus on driving up purchase frequency and average spend in order to support its market share gains.
Deborah Weinswig, CEO and Founder of Coresight Research, weighs in, noting, “Consumers with Prime memberships are meaningfully more likely to buy nontraditional categories on Amazon. Prime members are naturally a self-selecting group of Amazon shoppers, because only regular customers would opt for a membership. But we think that once consumers become members, they see the value of buying types of products on the site that they may not traditionally associate with Amazon, such as groceries and clothing. That’s why Prime memberships are so important.”
Kurt Kuenne was childhood friends with a man named Andrew Bagby, who, in late 2001, was murdered by ex-girlfriend Shirley Turner. Relieved he’d finally put an end to a turbulent relationship, he had no idea Turner was pregnant. So she killed him, then fled to Newfoundland, where she gave birth to Bagby’s son, Zachary. This is how Dear Zachary begins: a visual testament to both Andrew Bagby’s life, as well as the enduring hearts of his parents, who, as Kuenne chronicles, moved to Newfoundland after their son’s murder to begin proceedings to gain custody of Zachary. Kuenne only meant the film to be a gift, a love letter to his friend postmarked to Zachary, to allow the baby to one day get to know his father via the many, many people who loved him most. Told in interviews, photos, phone calls, seemingly every piece of detritus from one man’s life, Kuenne’s eulogy is an achingly sad portrait of someone who, in only 28 years, deeply affected the lives of so many people around him. And then Dear Zachary transforms into something profoundly else. It begins to take on the visual language and tone of an infuriating true-crime account, painstakingly detailing the process by which Bagby’s parents gained custody and then—just as they were beginning to find some semblance of consolation—faced their worst nightmares. The film at times becomes exquisitely painful, but Kuenne has a natural gift for tension and pacing that neither exploits the material nor drags the audience through melodramatic mud. In retrospect, Dear Zachary’s expositional approach may seem a bit cloying, but that’s only because Kuenne is willing to tell a story with all the disconsolate surprise of the tragedy itself. You’re gonna bawl your guts out. —Dom Sinacola
Amazon Prime lets you add premium video subscriptions -- Starz, Showtime and so on -- to your Prime Video viewing umbrella. (Alas, you don't get any discounts compared with purchasing those subscriptions separately.) As part of Amazon Family, you can score 20 percent off diaper purchases via Subscribe & Save and 15 percent off eligible products in your baby registry. And speaking of family, you're allowed to extend your membership to one additional adult living in your house.
"I'm very Type A, so I live my life according to the lists I write for myself. I decided I needed a weekly planner pad to set on my desk so that I could better plan out my week, and after much searching, I found this one by Hashi. It has the perfect amount of space for writing, cute designs on the pages, and it's not dated, so it can last beyond the calendar year." — Malarie Gokey
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