Dam - Season 2
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Dam - Season 2
Dam, also stylised as DAM, is a South African psychological thriller television series created by Alex Yazbek and developed by Picture Tree. The 8-episode first season premiered on 22 February 2021 on Showmax.
Dam's first season received critical acclaim and was one of the top ten most watched shows on Showmax in 2021.[1] It became the most nominated series at the 2022 South African Film and Television Awards at nomination tally of 11, including Best TV Drama as well as 5 acting nominations, with supporting actress Natasha Loring winning hers. In August 2022, the series was renewed for a second season.[2]
Principal photography for the first season began in September 2020[6] and took place on location in the Eastern Cape towns of Bedford and Adelaide. Production for the second season returned to Bedford and Adelaide, and was underway as of August 2022.[2]
The trailer also gives us first glimpses of the impressive returning cast, which includes SAFTA winners Antoinette Louw and Tarryn Wyngaard; Fleur du Cap winner and Africa Movie Academy Award nominee Faniswa Yisa; and Laudo Liebenberg as Rudy and Francis Chouler as Dirk, whose love triangle with Sienna gets even more complicated this season.
All the SAFTA nominees, other than Sandilands and Ngesi, are back for Season 2, as is three-time winner Tom Marais, who is nominated again this weekend for his cinematography on Reyka.Other returning cast include SAFTA winners Antoinette Louw (An Act of Defiance), Tarryn Wyngaard (Stam), and Thembisa Mdoda-Nxumalo (Unmarried), as well as Marvin-Lee Beukes, who is nominated this weekend for his role as Donovan in Suidooster. Gerald Steyn (Meisies Wat Fluit, Fiela Se Kind); Laudo Liebenberg (Black Sails, Die Byl); Francis Chouler (Black Sails); Fleur du Cap winner and 2020 Africa Movie Academy Award nominee Faniswa Yisa (Knuckle City, Blood Psalms); Fleur du Cap winner and three-time SAFTA nominee Jennifer Steyn (Goodbye Bafana); and David James (District 9) are also back this season.
Team Scorpion is busy with their most important work of the season: coming up with a mixture to make artificial snow that can last FOREVER, and by forever, I mean like seven or eight years. It sounds like the perfect way to spend Christmas Eve, except Toby is being a total Grinch.
HBO's Westworld kicked off its new mystery in season 4 by picking up several years after the season 3 finale. William (Ed Harris), presumably the host version of him that slashed at the real William in that post-credits scene, arrives at the hydro-electric dam to take it off the hands of its current owners.
He feels something has been stolen from him. We don't yet know what that is. Is there anything else that you could tease about why he wants this particular locationNOLAN: It's a veiled reference to something that we have seen already stolen from him at the end of season 2. I'll say that much.
We also see this swarm of flies. Flies have obviously been a visual motif that you guys have been playing with since the very first season, but now it seems like flies are becoming a much more active role in the narrative moving forward. What can you say about coming to this idea and wanting to do more with the flies JOY: First, I have to applaud our fly stars for having patience. They cameod in the first season. We made Marsden wait for one season, but the flies have been waiting forever for their time to take center stage. And it has arrived. It is their season and here they are.NOLAN: We just love this idea of the subtle things in our environment that shift and change, and the tectonic changes and control that might indicate. So that's just a lovely way to come full circle. In the original park, the flies were the only classic symbol of the things you can't control. The flies are like the last real thing in that park, and taking that and flipping it on its head so that something that was a symbol of chaos inside this very curated world becomes a symbol of control inside a chaotic world. We just love that inversion and the creepy sense that our technologies are becoming so small and insidious that they can go anywhere.
How would you describe the mystery that's going on in this futuristic New York with Christina, the man who was stalking her, and the man who looks like James Marsden's TeddyNOLAN: It's the mind f--- thriller that I've always loved. That's always been such a key component of this show, but on this deeper level, one of the things that we're also confronted with right now is with these larger data companies, gaming companies, social media companies our perception of reality has clearly become quite warped. Everyone's understanding of what the world is now radically [different]. We all used to have a fairly good set of facts we could agree on. Even the facts are now in question, and that's a very worrisome trend, that idea that there may be levels of mechanisms of control here, even inadvertent ones. It starts, for us, the series with the idea, "We're doing this to these robots, they don't know any better," and now the metaphor has spilled out and is coloring outside the lines. We're considering more literally our world. We've seen in the last season that we were controlling ourselves, and now you add the hosts to the mix here. They're smarter than us and they have a longer timeline they're working towards, as Ed's character mentions in the premiere, that slow, long patient, creeping threat, which feels analogous to some of the forces at play in our real world. JOY: Especially in the Christina story, I wanted it to be like a paranoid thriller where we really got a feeling of being with her emotionally through some of this, like inside her head, feeling the creep and the second guessing that she has about the fear that she has of her stalker and that sense that she's being followed or being watched. The interesting thing about writing her is, on the one hand, that's genre, a paranoid thriller, but on the other hand, I honestly feel like it's what a lot of women feel when they're walking down the street at night. "Am I being watched Am I safe" And then a guy comes and accuses her of controlling him, making him do things he doesn't want, which is a very common way of manipulating women. "You're making me want this or do this." So for me, it's both a facet of a form of genre, but it's also pointing to some very real dynamics that occur. It also stays true to the relatability that I want Christina to have to people in our world.
It was a highlight of the latest season of the Netflix series The Crown, which chronicles the early years of Queen Elizabeth II's reign: The year is 1961, the Cold War is heating up and the queen (played by Claire Foy), feeling self-conscious after learning that First Lady Jackie Kennedy (Jodi Balfour) called her "incurious" at a dinner party, decides to take a more proactive role in dealing with Ghana, a former colony whose new leader, Kwame Nkrumah (Danny Sapani), appears to be getting too cozy with the Soviets.
The Mount Weather Emergency Operations Center or simply Mount Weather, also known as The Mountain, or Maunde (Trigedasleng), is a location featured in the second, third and sixth season.
The Quarantine Ward was used to house the 48 Delinquents after they were brought to Mount Weather in the first season finale. It was later used to imprison the overthrown president of Mount Weather, Dante Wallace by the current president, Cage Wallace.
Dams are known to impact river channels and ecosystems, both during their lifetime and in their decommissioning. In this study, we applied a before-after-control-impact design associated with two small dam removals to investigate abiotic and biotic recovery trajectories from both the elimination of the press disturbance associated with the presence of dams and the introduction of a pulse disturbance associated with removal of dams. The two case studies represent different geomorphic and ecological conditions that we expected to represent low and high sensitivities to the pulse disturbance of dam removal: the 4 m tall, gravel-filled Brownsville Dam on the wadeable Calapooia River and the 12.5 m tall, sand and gravel-filled Savage Rapids Dam on the largely non-wadeable Rogue River. We evaluated both geomorphic and ecological responses annually for two years post removal, and asked if functional traits of the macroinvertebrate assemblages provided more persistent signals of ecological disturbance than taxonomically defined assemblages over the period of study. Results indicate that: 1) the presence of the dams constituted a strong ecological press disturbance to the near-downstream reaches on both rivers, despite the fact that both rivers passed unregulated flow and sediment during the high flow season; 2) ecological recovery from this press disturbance occurred within the year following the restoration action of dam removal, whereas signals of geomorphic disturbance from the pulse of released sediment persisted two years post-removal, and 3) the strength of the press disturbance and the rapid ecological recovery were detected regardless of whether recovery was assessed by taxonomic or functional assemblages and for both case studies, in spite of their different geomorphic settings.
Westworld's William is in the market for Hoover Dam... but why does the Man in Black actually want it Westworld season 4 enters cartel territory, approximately seven years after season 3's fiery conclusion. Wealthy mobsters own Hoover Dam and have converted the facility into a massive data server where prestigious clients pay for the privilege of storing information when a USB stick or Google Drive just won't suffice. Westworld's "The Auguries" kicks off season 4 with William demanding to purchase this facility, then using some mysterious insect mind control technique when money fails. 59ce067264
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