It’s not difficult to imagine a different cut of Anna Rose Holmer’s The Fits that hews closer to the arc of a traditional sports story. Hers has the makings of a familiar one, of a misfit who wants more than anything to compete—but unlike most stories of inspirational audacity, The Fits is as much about discomfort as the catharsis that comes with achievement. In it, Toni (Royalty Hightower) is an 11-year-old who has more experience with stereotypically male pursuits like lifting weights and punching speed bags than the usual interests of a pre-teen girl. She spends nearly all of her time at the Lincoln Recreation Center alongside her boxer brother, Jermaine (Da’Sean Minor), pushing her body to the limit. While she shows a remarkable aptitude for the ascetical devotion required for boxing, she still dreams about competing on the dance team, “The Lincoln Lionesses.” Framed with a rigid sense of space by cinematographer Paul Yee, and backed by the groaning score from veteran composers Danny Bensi and Saunder Jurriaans, The Fits is infused with such dread that one can’t help but imagine that characters’ muscles and bones could break or shatter at any moment. The film’s most explicit example of which may be Toni pulling off a temporary tattoo, but The Fits is firmly a story of metaphysical body horror, an allegory about our greatest fears of physical fragility shot brilliantly through a feminist lens. With that, the film manages to reinvent the sports story as something both brainy and physically pure. —Michael Snydel
Snapchat could use the help. It’s now losing users and money, down from 191 million to 188 million daily active users last quarter while burning $353 million. Partnering instead of trying to build all its technology in-house could help reduce that financial loss, while added utility could aid with user growth. And if Snap can convince advertisers, they might pay to educate people on how to scan their products with Snapchat.
Visit www.sprint.com/amazonprime, call 1-(800)-SPRINT1 or go to your nearest Sprint store. After adding Prime to your Sprint account, you will get a text message with an activation link, where you can complete the registration process. Once you have successfully activated your Prime membership, you can immediately start enjoying all the benefits of Prime. To enhance your Prime experience, you will also be prompted to download the Amazon apps which will allow you to get Prime content on your phone.
On May 10, 2016, Amazon launched a Video Service called Amazon Video Direct which allows users to place videos available to rent or own, to view free with ads, or to be bundled together, and offered as an ad-on subscription. Amazon will pay creators 50% of the revenue earned from rental or sale of the videos, but for ad-supported videos, the makers will get a portion of ad receipts.
A.: Amazon Prime Music is a streaming music service, similar to Spotify or Pandora. Users can choose albums or songs to stream, or allow Amazon to create a customized profile to suit their tastes and do it for them. Currently, the service offers more than two million songs, but its selection still pales in comparison to those of Spotify and Pandora. Amazon Prime members can also download these songs and listen to them online (as long as their Prime membership remains active). Its newer service, Music Unlimited, gives you access to "tens of millions" of songs and weekly new releases. If you own an Amazon Echo, you can pay $3.99/month for this service, but you'll only be able to stream on your Echo device. For $7.99/month, you'll be able to stream on all of your devices.
And while Amazon’s brands have quickly gained market share on its platform in some areas, in other segments, such as apparel, they account for less than 1 percent of the inventory sold. And when broadened out to include brick-and-mortar stores, its online share of the battery market equals less than 5 percent. Until Amazon’s share of the total market starts to reach closer to 40 percent or more, it is difficult to argue there is an attempted-monopolization case, say legal experts.
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 company launched amazon.com Auctions, a web auctions service, in March 1999. However, it failed to chip away at the large market share of the industry pioneer, eBay. Later, the company launched a fixed-price marketplace business, zShops, in September 1999, and the now defunct partnership with Sotheby's, called Sothebys.amazon.com, in November. Auctions and zShops evolved into Amazon Marketplace, a service launched in November 2000 that let customers sell used books, CDs, DVDs, and other products alongside new items. As of October 2014, Amazon Marketplace is the largest of its kind, followed by similar marketplaces from Sears, Rakuten and Newegg.