Sony Pictures Animation Names Alison Mann VP Creative & Strategy

Sony Picture Animation has tapped Alison Mann as Vice President of Creative & Strategy. She will advise the studio on film and series development, specifically focusing on creating global-facing content and increasing international talent outreach. The new veep will report directly to SPA President Kristine Belson.

Mann moves to the newly created role from Illumination Entertainment, where she was a VP in the talent department. She got her start at Nickelodeon Animation as a finance department intern while a student at Columbia College Chicago. She continued at Viacom as talent recruiter. Mann’s resume also includes stints at Disney Animation Studio, Zynga, Disney Interactive and Paramount Animation.

Mann is also a co-founder and CEO of the BRIC Foundation, which aims to uplift women and people from underrepresented groups in animation and connect them with creative leaders and mentors.

SPA is releasing The Angry Birds Movie 2 (co-produced by Rovio, animation by Imageworks) on August 14 — Chinese co-pro Wish Dragon (with Base FX, Flagship Ent.), starring Jackie Chan and Constance Wu, is also due this year. Phil Lord & Chris Miller project The Mitchells vs. The Machines and Lin-Manuel Miranda musical Vivo are set for 2020, along with Peter Rabbit 2 (featuring critters by Animal Logic). Hotel Transylvania 4 is slated for a holiday 2021 release.

[Source: Variety]

Animation Magazine

Magic Light Pictures Flies High with ‘Zog’ Special

Over the past decade, we’ve come to expect great things from the discerning animation production team of Michael Rose and Martin Pope of Magic Light Pictures. Fans of award-winning specials such as Room on the Broom, The Gruffalo, The Gruffalo’s Child and The Highway Rat are familiar with the kind of heart-warming, witty and lovingly animated family fare they deliver year after year

This Christmas, they are back with a new half-hour special based on another book written by Julia Donaldson and illustrated by Axel Scheffler, who also inspired their previous specials.

“Martin Pope and I have produced a number of specials based on Julia and Axel’s books over the years, beginning with The Gruffalo in 2009,” says Michael Rose. “The first time we read Zog, we loved the characters, story and the world and wanted to bring it to screen. Max Lang and Suzanne Lang found a great way to adapt the book, and we then asked Max (who had previously directed both Gruffalo and Room on the Broom for us) and Daniel Snaddon (who co-directed Stick Man) to direct the film.”

Zog features the voices of Sir Lenny Henry (Narrator), Tracey Ullman (Madame Dragon), Hugh Skinner (Zog), Patsy Ferran (Pearl) and Kit Harington (Sir Gadabout). It centers on the friendship between an accident-prone dragon and a young girl who patches up his bruises and grazes. Zog faces a big challenge during his fifth year at Dragon School, when he has to capture a princess.

Finding Their Bliss

Lang and Snaddon were instantly drawn to the book’s characters and humor. “Zog, Princess Pearl and Sir Gadabout are all struggling with finding their place in the world,” says Lang. “There’s a big gap between what they and the world wants from them, and who they actually are. This creates a nice conflict and leads to a lot of character driven comedy. The other strong pull for us was the relationship between Pearl and Zog which adds a warmth to the story that we were keen to capture in the animation.”

Rose also praises Donaldson’s clever, character-led stories which take readers on imaginative journeys into extraordinary worlds. “Axel Scheffler’s illustrations bring these characters and worlds to life, creating rich layers of visual detail which amplify Julia’s words and compliment them with additional depth and story,” he adds. “So these books provide a wonderful starting place for dramatic adaptation and bountiful inspiration for animation.”

Cape Town-based Triggerfish Animation, who also worked on The Highway Rat and Revolting Rhymes, produced the special’s beautiful CG animation. “They are a fabulous studio and great partners to work with, with a very talented crew, producing superb high-quality CGI,” says Rose. “Voice recordings and all sound and picture post-production were done in London.”

The project was animated in Maya and rendered in Arnold, while the visual effects were simulated in Phoenix and compositing was handled by Nuke. The animation team also used ZBrush and 3D-Coat for some of the modelling and surfacing work. According to the producers, more than a hundred people worked on the special over an 18 month period.

One of the key challenges of the project was that its story takes place over five years, during which the characters grow. “The already large cast of characters had to change and grow from sequence to sequence,” notes Snaddon. “This is a problem in any asset-based medium, but the team at Triggerfish came up with a lot of elegant and creative solutions. Apart from this, the trickiest thing has been managing the overlap with our next project which is really cool, but has a whole different set of challenges.”

Looking back, Rose is pleased with how the project has moved from the page to the small screen. “We set out to make a film for all the family to enjoy,” he notes. “At its heart is the empowering story of a young girl who renounces being a princess to become a doctor and do good in the world.  Hopefully audiences will be inspired, entertained and come away smiling!”

You can watch a trailer for the special here: www.bbc.co.uk/programmes/p06tz8w0

Zog premieres on BBC One in the U.K. on Christmas Day. The half-hour special will have an Oscar-qualifying run in Los Angeles in December and will be submitted for consideration in 2019.

Zog

Zog

Zog

Zog

Zog

Zog

Animation Magazine

Jellyfish Pictures Faces Off with ‘The Innocents’ for Netflix

Netflix has just released a new UK-produced sci-fi drama series from New Pictures, titled The Innocents (8 x 60’) — a teen runaway tale with a dangerous skin-changing twist. Over the course of eight months, a 40-person team at VFX and animation studio Jellyfish Pictures handled more than 150 shots for the project, mainly focusing on the character shape-shifting elements.

The studio pitched and curated the whole creative approach to these shifts, with a brief to present two (sometimes up to six) different identities colliding together in one body, until one has taken over the other, in the most realistic way possible.

The Jellyfish team, led by Creative Director Tom Brass and COO Luke Dodd, came up with using turbulence in the characters’ faces to suggest that internal struggle. Working closely with the client and the director to gather a deep understanding of all the characters, Jellyfish carved out the four stages of a shift: eye flickers, skin ripples, actual shift and finally the sudden change. Each character reaction, both physically and emotionally, was unique.

Jellyfish and the show’s cast went to Ten24 in Sheffield to conduct 3D scans of all the actors’ heads, capturing both neutral and extreme facial expressions including grimaces, eye clenches and extensive mouth and teeth movement. (One actor had already started shooting another project in South Africa, so was scanned by a separate company there.) These scans were the basis for all shifts throughout the series. Jellyfish artists went into minute detail on the digital faces, creating entirely CG teeth as well as generating accurate pore and wrinkle replication.

VFX supervisor Matt McKinney and head of 3D Dave Cook led the lighting team in applying the ambient photography of each facial texture and to the scanned facial models to shade. The team then used Jellyfish’s skin shading tool set to bring the faces to life. The ambient textures allowed the artists to match shadowing and lighting to seamlessly integrate the faces in to the plates.

Also crucial to the success of these shots were camera and object tracking — painstakingly copied match moves of each actor’s head, neck and shoulders allowed for complete digital double replacement, amped up with a bespoke facial animation rig; high-velocity eye flickers made with highly detailed photoreal CG eyes and irises; and digital hair transformation.

Simulating hair was one of Jellyfish’s biggest technical and artistic challenges on the show. The hair had to be both groomed and animated to match the live-action movement in the most photorealistic way possible. And not just head hair, but eyelashes, eyebrows and facial hair (full beards and stubble included).

Additional work on The Innocents tackled by Jellyfish were set extensions, water simulation and character duplication. Season 1 is available now on Netflix streaming.

[Source:Jellyfish Pictures]

Animation Magazine

Rising Sun Pictures Makes Magic for Its First Chinese Blockbuster ‘Animal World’

Animal World

Animal World

Internationally renowned Australian studio Rising Sun Pictures conjured some visual effects magic across 86 shots for Animal World, a new graphic novel-inspired fantasy adventure produced in China which had an enthusiastic premiere reception at the Shanghai International Film Festival. RSP spent six months playing to its strengths on the project, now in wide release, with work spanning a card-playing creature, a loopy dream sequence, incredible car chase and hero shot of the film’s primary location: the freighter-turned-floating casino, “Destiny.”

Produced by Shanghai Ruyi Film & TV Production Co., Ltd, Shanghai Huolongguo Film & TV Production Co., Ltd; distributed by Beijing Enlight Pictures and directed by Yan Han (Go Away, Mr. Tumor), Animal World is based on Nobuyuki Fukumoto’s manga Ultimate Survivor Kaiji. The film centers on a young man named Zheng Kaisi (Li Yi Feng) who becomes trapped on a gambling ship operated by a menacing impresario (Michael Douglas) and is forced to take part in a violent game whose stakes are continually ratcheting up. The project marked RSP’s first major gig on a Chinese film aimed at international audiences.

RSP worked under the supervision of Yan Han and production VFX supervisor John Dietz, whose company, BangBang Productions, has provided visual effects support for several recent films made in China, including Jiang Wen’s Gone with the Bullets, Sun Zhou’s Impossible and John Woo’s The Crossing.

“BangBang and I have a long history with Rising Sun Pictures and their work is second to none,” said Dietz. “Yan Han was particularly attracted to RSP’s incredible work on X-Men: Days of Future Past and wanted to bring that talent into key sequences in Animal World. RSP again delivered exceptional work. We are thrilled with the result.”

“Filmmaking has become a global business,” noted RSP executive producer Gill Howe. “We’re used to working over long distances and across cultures. We communicated with the production team in China via cineSync and Skype, just as we do with US and UK-based productions. This ensured the team could create amazing visuals that would be in line with the filmmaker’s vision.”

Road Warriors
For an elaborate car chase where Kaiji, driving a BMW coupe, is pursued by ninjas on motorcycles through a crowded city, RSP created a central part of the sequence where the pursuit enters a tunnel and things literally spin out of control.

“There’s a lot happening in the tunnel… speeding cars, collisions, gunfire, explosions… and our job was to make it look as fast and dangerous as possible,” recalls RSP visual effects supervisor Malte Sarnes. “Most of it was far too dangerous to shoot practically, so the motorbikes, the hero car and other vehicles had to be done in CG.”

The studio’s 3D team produced CG models of the BMW, the motorcycles and various other vehicles, including a truck that collides with one of the bikes — causing it to explode in flames. All the vehicles had to be made photo-real down to the tiniest detail so that practical and CG elements could be used interchangeably.

“The hero vehicle was challenging because it had been previously damaged and suffers additional dents and scrapes as the scene progresses,” said CG supervisor Ryan Kirby. “The rigging and shading was also quite involved, because the cars are all metal and have headlights, taillights and rubber tires.”

The 2D team assembled the scene into its final form, placing CG vehicles into the background environment and adding actors and stunt talent who had been shot separately on greenscreen (including a ninja who crashes through the windshield of the BMW). Each bit of action was choreographed to the millisecond. Pyrotechnics and other environmental flourishes supplied the finishing touch. “John Dietz told us to make it big, so wherever we could add a little something extra… sparks, smoke, explosions, we went for it,” noted 2D lead Jess Burnheim.

Trip of a Lifetime
Many of the film’s visuals have a hallucinatory quality. In RSP’s longest sequence (more than 90 seconds of screen time), a dejected Kaisi wanders through a door of the casino and suddenly finds himself tumbling in space. He falls through the clutches of a claw-like patch of clouds before landing in an ocean, where he is attacked by giant sharks. He is only saved from the jaws of the fish when the ocean magically freezes over. Except for Kaisi, everything in the scene is CG.

“Yan Han wanted it to feel trippy and creepy at the same time,” said Sarnes. “We went through many iterations with him and John Dietz. It was hard to get the tone just right, because it’s so subjective. It was the most challenging, and the most enjoyable, scene in the film.”

Kirby added that choreographic the surreal scene was demanding both artistically and technically: “A single camera move is sustained for the full 90 seconds as Kaisi passes through four crazy environments. We go from a corridor into space, into water, into a frozen droplet and back to the corridor. It was challenging in terms of physical space and the changing scale.”

Another complicated sequence involves an exterior view of the Destiny at the opening of the film, in which both the ship and the ocean are CG. RSP artists spent months fine-tuning the details that would help draw audiences into the film’s world. Sarnes said, “The ship appears to be a chemical tanker that was transformed into a casino. There is a lot of secret military stuff happening on deck while the gambling goes on below.”

“The audience has a lot of time to scrutinise the work and if something looks false, they’ll notice,” noted Burnheim. “So, we used everything in our bag of tricks, adding flares and lights, wisps of smoke in the background, to give it an increased sense of realism.”

Pick a Card
RSP’s character animators got to flex their creative muscles with a sequence involving a creature called “Hightower.” Elsewhere in the film, the tall, reptilian creatures are portrayed as vicious warriors, but here they sit in the casino relaxing over a game of cards.

“We had to modify the creature for our sequence to give it hands. That required high-definition muscle simulation,” said Kirby. “We needed to make sure that the body performance was up to scratch because we had them so close to camera. They also had to act a bit more, and even be a bit silly.”

To Sarnes, the sequence ranks among RSP’s best character work. “When you see it on the big screen, you can appreciate the time and attention the artists invested in the characters.”

In all, RSP contributed to seven key sequences in the film. Collectively, that amounted to nearly nine minutes of material that was either fully or nearly fully CG. Howe noted that the scope and variety of the work made it a gratifying project for the whole team:. “We got to do creature animation, create far out digital environments and produce interesting effects. It touched all the areas we excel at and so it was great opportunity for the company to show what we can do.”

Learn more about the studio at rsp.com.au.

RSP

RSP

Animal World

Animal World

Animal World

Animal World

Animal World

Animal World

Animal World

Animal World

Animal World

Animal World

Animal World

Animal World

Animal World

Animal World

Animal World

Animal World

Animation Magazine

Gas Money Pictures Launches Three New Toons

Dinosaur Attack! On Kung Fu Island

Dinosaur Attack! On Kung Fu Island

Los Angeles-based indie animation shop Gas Money Pictures has launched three new animated shows— Hollywould, Mr. Wiggles Saves the World and Dinosaur Attack! On Kung Fu Island after their debut at the recent Cannes market in May.

The adult comedy series, Hollywould follows the exploits of two washed up screenwriters as they work towards their long overdue comeback. Mr. Wiggles Saves the World centers on a normal, everyday family who has a secret government operation hiding in their basement, and a family dog that saves the world from aliens. Dinosaur Attack follows Steven and Mawni on their action adventure as they are suddenly thrust into epic battles against giant holographic and robotic dinosaurs.

“Gas Money Pictures already has an established presence in live-action films and television so it was a natural evolution to take the next steps in bringing these new characters to life in the animated realm,” says James L. Bills, CCO of Gas Money Pictures, “We are looking forward to further establishing ourselves in the US market as well as expanding internationally into Europe and China.”

Gas Money Pictures was founded by film and television veterans James L. Bills and J. Horton with partner Paul C. Norman. GMPs’ Animation Studio is also planning on producing and launching more animated shows for traditional, streaming and emerging platforms. For more info, visit www.gasmoneypictures.com.

Hollywould, Dinosaur Attack! On Kung Fu Island, and Mr. Wiggles Saves the World

Hollywould, Dinosaur Attack! On Kung Fu Island, and Mr. Wiggles Saves the World

Animation Magazine

Sony Pictures Too Slow for ‘Sonic’

Sonic the Hedgehog

Sonic the Hedgehog

The upcoming Sonic the Hedgehog movie hit a bit of a bumper today when Sony let their film rights expire. It will find a home in the Green Hill Zone of Paramount pictures. Luckily for the project, the key players remain unchanged.

Deadpool director Tim Miller remains on board as a producer with Blur Studio’s Jeff Fowler, the mind behind the Oscar-nominated short Gopher Broke, set to direct in his feature film debut. Also producing is Neal H. Moritz under the Original Film banner. The film is allegedly being developed as a hybrid of live-action and CGI animation, though anyone who’s played 2006?s Sonic the Hedgehog can tell you placing Sonic in a realistic looking context has a mixed precedence.

The Sonic the Hedgehog series remains one of the most iconic video game franchises in history, spawning a series of platform games, offshoot pinball and puzzle games, animated TV shows, and one of the most infamously self-mocking Twitter accounts ever. The games depict the fastest Hedgehog alive in his battle against the nefarious and corpulent Dr. Eggman (translated to Dr. Robotnik in earlier games), along with his cadre of anthropomorphic companions, including Tails the Fox and Knuckles the Echidna. The games have a mixed legacy, with earlier games being hailed as classics and many recent games being derided as unplayable messes, but the blue hedgehog has seen a revival with the critically acclaimed retro-platformer Sonic Mania and the upcoming Sonic Forces. Can the immensely talented crew deliver an adaptation at Paramount that is way past cool?

Sonic’s big-screen debut occurred in Disney Animation’s Wreck-It Ralph back in 2012.

[Sources: Variety, Hollywood Reporter]

Sonic the Hedgehog

Sonic the Hedgehog

Animation Magazine

Jellyfish Pictures Launches VFX & Animation Tech Biz RenderWise

Jeremy Smith

Jeremy Smith

Multiple award-winning production studio Jellyfish Pictures announced the formation of a new subsidiary business, RenderWise (http://renderwise.com) — offering cloud hybrid rendering and virtual studio solutions for VFX and animation applications. The new outfit officially launches at SIGGRAPH (taking place in Los Angeles, July 30-August 3), and will be offering demonstrations at the Microsoft stand #923.

“RenderWise was born from an acknowledgement that the VFX industry needs to change,” said Jellyfish CTO Jeremy Smith. “It promotes global collaborative working, which in an industry such as ours, is essential. The most important thing, for us all, is to ensure that creativity is never stilted — using the cloud, opens up a whole new realm of possibilities to how we work, breaking down the four walls of our studios, and expanding progress.”

RenderWise’s cloud hybrid rendering solution, which utilizes Microsoft Azure, has already been put to the test on a number of Jellyfish’s projects. Dramatically streamlining VFX and animation workflows, the new solution gives studios greater flexibility in how they work, delivering a true hybrid rendering solution fully integrated into an existing render farm and pipeline management. The company offers both consultancy services and setup, having already implemented the solution at two of its offices in Oval, London.

The new solution harnesses the cloud to create an adaptable environment allowing VFX studios to work remotely and on demand. It drastically increases speed of provisioning, hyper-scaling and seamless burst rendering to the cloud. RenderWise aims to reduce time consuming tech and infrastructure overheads traditionally associated with setting up a new studio by helping set up virtual offices. Studios coming on board can adopt an Opex pricing structure rather than Capex, with all system administration costs being outsourced to Microsoft Azure, saving studios more money on cooling outlay and running on-premises hardware.

“For as long as the VFX community can remember, we have been governed by on-premises hardware and infrastructure when tackling projects. RenderWise eliminates this archaic view and liberates what is possible.” Phil Dobree, CEO, Jellyfish Pictures, added. “In order to compete we need to start deploying solutions that enable us to work as efficiently and economically as possible. The solution we have created is the future of how VFX studios will run and I am very proud of the results.”

Founded in 2001, Jellyfish Pictures currently employs over 200 artists in four London studios. The company has won an Emmy Award, BAFTA award for visual effects, two Royal Television Society awards and two VES Awards, as well as may nominations for its range of work. More information at jellyfishpictures.co.uk.

Jellyfish Studios

Jellyfish Studios

Jellyfish Studios

Jellyfish Studios

Jellyfish Studios

Jellyfish Studios

Animation Magazine

Jim Gianopulos Tapped to Head Paramount Pictures

Jim Gianopulos

Jim Gianopulos

Viacom has announced that Jim Gianopulos has been appointed the new Chairman and CEO of its Paramount Pictures, effective April 3. The former Fox head is stepping in for Brad Grey, who announced his plans to vacate the positions in February.

“Paramount is one of Hollywood’s truly iconic studios, and the role it has played in shaping the entertainment industry cannot be overstated. Looking ahead, I see a strong opportunity to position the studio for success by creating valuable franchise opportunities, developing fresh creative ventures, and mining Viacom’s deep brand portfolio to bring exciting new narratives to life. I am eager to get to work with Bob [Bakish] and the rest of the Viacom and Paramount teams to ensure Paramount continues to deliver rich, powerful films and television programming for all audiences.”

Gianopulos will oversee Paramount’s worldwide film and TV operations, and is tasked with developing a new strategy for the studio — including development new content, bolstering Paramount’s release slate with titles co-branded with other Viacom brands (like Nickelodeon), and growing the studio’s global footprint. He will report to Bob Bakish, President and CEO of Viacom.

“Jim is a remarkably talented executive with all the tools — strategic vision, strong business expertise, deep industry and creative relationships — to bring films to life that resonate throughout culture and deliver commercial results,” said Bakish. “I’m thrilled we will have the benefit of his experience, savvy and global expertise as we lay out a clear path forward and begin the next chapter in Paramount’s storied history.”

Up until last September, Gianopulos had served as Chairman and CEO of Twentieth Century Fox Film Corporation for 16 years. He had previously served as President of Fox International (1994-2000) and Presented of International and Pay TV for Fox (1992-1994). Gianopulos also sits or holds office on various corporate and charitable organization boards and committees, including News Corp., The Motion Picture and Television Fund, KCRW (National Public Radio), Hulu Japan and the USC Entertainment Technology Committee.

Paramount Pictures

Paramount Pictures

Animation Magazine

2015 World Animation Celebration Set for Oct. 24-25 at Sony Pictures Animation

World-Animation-Celebration-150

Animation Libation Studios and Animation Magazine present the 2015 edition of The World Animation Celebration international short film animation festival, hosted by Sony Pictures Animation.

The event will take place Oct. 24-25at Sony Pictures Animation, 9050 W. Washington Blvd. Culver City, Calif.

The World Animation Celebration will feature two full days of animation including:

  • Animated films
  • Industry panels
  • World-class professional judges
  • Portfolio reviews
  • Industry guest speakers
  • Guest artist demos
  • Recruiters

The event serves as a showcase for the best animated short films from all over the world using any number of techniques, including: CG, traditional, student films, stop motion, 2D digital and experimental films.

Animation Magazine is the leading magazine promoting the business, art, and technology of animation globally.

Animation Libation Studios makes it possible for newly emerging artists to work hand-in-hand with seasoned industry professionals from around the world.

Sony Pictures Animation produces a variety of animated and family entertainment for audiences around the world, including the Cloudy with a Chance of Meatballs movies; the 2012 monster hit comedy Hotel Transylvania and its upcoming sequel Hotel Transylvania 2, in theaters this September; as well as a brand-new, all-CG Smurfs movie scheduled for worldwide release in summer 2016. Sony Pictures Animation is an operating unit of Sony Pictures Motion Picture Group.

Follow Animation Libation Studios and Animation Magazine for more exciting news about The World Animation Celebration and how to get your early-bird registration tickets and film submissions.

For more info, visit Animation Libation online at http://www.animationlibationstudios.com.

World Animation Celebration

World Animation Celebration

Animation Magazine

Kristine Belson Named President of Sony Pictures Animation

Kristine Belson

Kristine Belson

Sony Pictures Entertainment has named Oscar nominee Kristine Belson president of Sony Pictures Animation.

In her new role, Belson will lead the development and production of original material as well as current and future franchises, focusing on creating an environment that nurtures animators and artists. She will report to Amy Pascal, co-chairman of Sony Pictures Entertainment and chairman of Sony Pictures Entertainment Motion Picture Group.

Belson joins Sony Pictures Animation after spending nearly a decade at DreamWorks Animation, where, most recently, she executive produced How to Train Your Dragon and produced The Croods, for which she was nominated for an Academy Award for Best Animated Feature. She joined DreamWorks Animation in 2005 as head of development, where she oversaw the development and acquisition of all feature film projects for the company.

Sony Pictures Animation

Sony Pictures Animation

Animation Magazine

Pictures May Help Encourage Skin Cancer Self-Exams


Pictures May Help Encourage Skin Cancer Self-Exams

Study found images more motivating than text descriptions alone

WebMD News from HealthDay

Deadly skin cancer still rare in kids, but

By Robert Preidt

HealthDay Reporter

FRIDAY, Aug. 9 (HealthDay News) — Pictures can make a strong impression: People who see images of skin cancer are more likely to do skin examinations, according to a new study.

An evidence review concluded that people who saw pictures of skin cancer were motivated to check their skin more often and accurately. Text descriptions of skin cancer alone were not effective in promoting skin self-examination.

The study was published in the July issue of the Journal of the American Academy of Dermatology.

“Visual images capture our attention and are persuasive. They also help us to learn and remember,” study co-author Laurie Hoffman-Goetz, a professor at the University of Waterloo in Canada, said in a university news release.

The findings could help improve early detection of skin cancer, including deadly melanoma.

“Skin self-examination plays an important role in detecting melanoma early. Many cases of melanoma are first detected by patients themselves,” study co-author Jennifer McWhirter, a Ph.D. candidate, said in the news release.

“Incorporating images into clinical practice when educating patients can be a powerful tool in the fight against skin cancer,” Hoffman-Goetz added.

Skin cancer is the most common type of cancer in North America, the authors noted in the news release.

WebMD Health

VIDEO: Juan Rivera Talks Prison

Jenni Rivera’s brother breaks his silence on drugs, money and life in prison. In an interview with Azteca America, Juan Rivera admits he contemplated suicide after facing a life behind bars for drug trafficking. He admits he had drug dealers all over the city, selling cocaine, marijuana, crystal meth and heroin. Jenni’s brother now knows one thing for sure, he doesn’t want to go back to prison. For the full interview, tune in to Azteca America on August 4th.

Read more… “VIDEO: Juan Rivera Talks Prison”

Flight Pictures



Hurricane Sandy, Oct. 2012

Hurricane Sandy struck the East Coast of the United States on Oct. 29, 2012. See pictures of the extensive flooding and damage Hurricane Sandy caused.

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