✎✎✎ Blackfish Seaworld Response

Saturday, January 08, 2022 11:49:38 PM

Blackfish Seaworld Response

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Family of SeaWorld trainer responds to 'Blackfish'

Groups concerned for the health and safety of SeaWorld's captive killer whale population have asked for the animals to be released. SeaWorld has defended their decision to keep the animals by citing their inability to survive in the wild after years of captivity. In response to claims leveled at SeaWorld and other marine parks by the movie The Cove which accuses them of obtaining dolphins taken in drive hunts , SeaWorld spokesperson Fred Jacobs stated that, "We think we're being unfairly criticized for something we're opposed to.

We do not purchase any animals from these hunts. More than 80 percent of the marine mammals in our care were born in our parks. We haven't collected a dolphin from the wild in decades. From Wikipedia, the free encyclopedia. This article is about the U. For the unrelated Australian theme park of a similar name, see Sea World Australia. For other uses, see Sea World. American theme park chain. Main article: SeaWorld San Diego. Main article: SeaWorld Orlando. Main article: SeaWorld San Antonio. Main article: SeaWorld Abu Dhabi. Main article: SeaWorld Ohio. See also: Wildwater Kingdom Ohio.

Main articles: Captive killer whales and Killer whale attacks on humans. Main article: Blackfish film. Retrieved March 26, MarketWatch, Inc. Retrieved October 10, ABC News. March 17, Retrieved June 4, Retrieved August 9, The New York Times. Associated Press. May 28, The Evening Independent. June 13, Pittsburgh Post-Gazette. Archived from the original on March 10, The Ledger. Wall Street Journal. Retrieved April 23, Washington Post. Orlando Sentinel. Retrieved July 12, Potato Head".

Retrieved June 6, June 19, August 14, The Guardian. Retrieved February 16, Candace Calloway Whiting. December 7, Tourism in Marine Environments. The Huffington Post. February 25, Retrieved February 24, Los Angeles Times. Archived from the original PDF on June 8, Retrieved June 13, Business Insider. Retrieved October 29, Retrieved August 16, CBS News. March 1, Retrieved March 7, Inside the Magic. April 21, Retrieved December 7, The Orlando News. August 16, National Geographic News. Retrieved September 9, Retrieved February 12, Retrieved June 11, Bay News April 25, Retrieved July 29, Retrieved November 24, San Diego Magazine : 78—.

ISSN Begins Long Journey Home". Biosphere 2 without its live-in crew is still doing science under its new owner, the University of Arizona. Because he was easy to draw, he was quickly repurposed online by other people, and started turning up in posts from disaffected stoners across the US. This hardly seemed to matter at the time, more a case of a frazzled reptile talking to his base.

Not long after, presidential hopeful Donald Trump briefly adopted Pepe as his online mascot and the Anti-Defamation League added the frog to its hate symbol register. Feels Good Man , with its goofy animations and road-tripping — Furie frantically tries to redeem his creation however possible, fan by fan if he has to — is as disorientating and terrifying as the story it sets out to tell. The Social Dilemma. The Social Dilemma combines shockingly candid interviews with Silicon Valley insiders with the dramatised misadventures of a social media-addicted family.

Whether the dramatic sequences entertain or irritate you will probably come down to your familiarity with the material. Kartheiser, as usual, chews up the screen. There is no denying that an urgent injection of humanity is needed in this sector. The Social Dilemma shows us, in painful detail, how they do it. Into The Inferno. Thirty years later, while filming Encounters at the End of the World in Antarctica , he met and befriended Clive Oppenheimer, a volcanologist at the University of Cambridge. Into t he Inferno brings these two experiences together, using familiarity and friendship to leaven a film that is ostensibly all about fire, disaster and looming death. No wonder it is such a good-natured and ultimately uplifting work. Oppenheimer, who had an active role in making the film, provides the scientific context.

He is particularly keen on the incomparably fierce eruption of Mount Toba in Indonesia 74, years ago, which some say may have almost wiped out humanity. In Vanuatu, for example, there is a legend of a supernatural US soldier called John Frum who will one day emerge from the Mount Yasur volcano on Tanna Island to spread his bounty. Armies of civilians now come to worship there.

Volcanoes are, it turns out, an ideal subject, one he handles with dramatic flare and a lot of charm. Unnatural Selection. According to Joe Egender, who co-created this genetic engineering series with Leeor Kaufman, Unnatural Selection began life around as a science fiction script. Over dinner, the writers realised that the material Egender was amassing was too complex for fiction — and barely believable anyway.

How, they wondered, did they not already know that technologies existed that were set to transform not only their lives, but the very future of life on this planet? Filmed between and , the four-part documentary they made in response to this revelation is a breakneck tour, from malaria-ridden villages in Burkina Faso to fertility clinics in Ukraine. Unnatural Selection leads us through various forms of genetic engineering, taking in as many societal and environmental implications as there is time for. Without a narrator to guide us, we slide back and forth between CRISPR , gene editing, gene drives, gene therapy and genetic engineering as though they were all aspects of the same hard-to-grasp idea.

One minute we are talking to Kevin Esvelt , a scientist at the Massachusetts Institute of Technology who wants to immunise the mice that infect ticks with Lyme disease; the next we are trying to wrap our heads around the twisted logic by which David Ishee, a Mississippi dog breeder, hopes to create green fluorescent mastiff puppies by adding green fluorescent protein-expressing E. Still, Unnatural Selection works very well indeed as a chronicle of the ambitions and struggles of scientists, doctors, patients, conservationists and biohackers as they seek to seize control of evolution. Kiss The Ground. In , he drove a van powered by used cooking oil across the US, capturing the attention of the world.

For the next 10 years, he promoted personal sustainability via the college lecture circuit, and his first film, the documentary Fuel , was nominated for an Oscar in Of course, every one-stop solution to a problem as complex and wicked as climate change needs its tyres kicking with great thoroughness. The film marshals epic footage shot on five continents, striking visuals from NASA and the US National Oceanic and Atmospheric Administration, stunning animation and the opinions of leading scientists, ecologists and experts, including Nobel laureates and members of the Intergovernmental Panel on Climate Change. Nor is climate the be-all and end-all of this film, by any stretch.

A message this positive and inspiring is a shoo-in for shortlists. Challenger: The Final Flight. It was also, quite openly, a public relations flight: on board were the first African-American astronaut, Ronald McNair; first Asian astronaut, Ellison Onizuka; and teacher Christa McAuliffe, who was going to be the first private citizen in space. Seventy-three seconds into the flight, hot gases spraying from one of the solid-fuel rocket boosters ruptured the main tank. Its bottom peeled away and massive amounts of liquid hydrogen spewed from the tank, creating a sudden forward thrust of more than tonnes. The whole assembly broke apart. Challenger: The Final Flight pieces together archival material, news footage and interviews with relatives of the Challenger crew, as well as engineers and others involved with the space shuttle mission.

The four-part series recaps the tragedy in excruciating detail, letting those closest to the disaster tell its story. NASA had wanted to normalise the idea of space travel. Instead, it faced years of painful self-examination and reinvention. Directors Steven Leckart and Daniel Junge examine the systemic oversights that led to the Challenger disaster, and the cultural failings that saw NASA briefly toy with a cover-up. Crip Camp. Writer-producers Nicole Newnham and James LeBrecht won the Audience Award at Sundance in for their story of Camp Jened, a free-spirited, Woodstock-like summer camp in the Catskill mountains of New York state that was designed for teens with disabilities.

Many who attended the camp in the early s felt that it was the first time they were seen, heard and acknowledged as individuals. At Camp Jened, no one was stigmatised or made to feel like the odd one out. Judy Heumann, a camp counsellor who went on to become a leader of the disability rights movement, features prominently as the film draws a convincing line from the baseball games, folk singalongs and furtive clinches at Camp Jened to the eventual signing of the Americans with Disabilities Act into law in The Pharmacist. One meeting with middle-aged Louisiana pharmacist Dan Schneider was all it took.

On the one hand, basing a series around Schneider was a no-brainer. Fobbed off by the authorities, to whom his son was just another addicted casualty, Schneider had launched his own investigation into the murder, recording all his calls and even his private thoughts in the hope that one day he would present his evidence at trial. Schneider was an unexpectedly tough customer, stalking the neighbourhood, bombarding strangers with phone calls and badgering a woman into testifying even though it forced her into witness protection.

Schneider wrapped up his investigation. His response was to pick up his car keys and tape recorder once more. Good for him: he spotted the opioid crisis before the rest of us. Here, though, the true-crime formula struggled to encompass all the issues involved. Human Flow. How do you depict the plight of more than 65 million people? That is the challenge Chinese artist and activist Ai Weiwei set himself, and the five awards that Human Flow received at the Venice Film Festival attest to his sometimes inspiring, sometimes heartbreaking success. Sixty-five million: this is the number of people who were forced to flee their homes around the world in because of famine, climate change and war, in the greatest human displacement since the second world war.

Filming in 23 countries over the course of a year, Ai combines epic cinematography and haunting drone footage of destroyed cityscapes and vast oceans with personal interviews and interactions, sometimes grabbed on-the-fly using his own iPhone. Nor is the flow of people the end of it. At least movement implies hope. Entire generations are being born without vaccinations, without education and without any sense of being valued. If Human Flow is a film short on solutions, it is rich in the kind of empathy we need to understand what being a migrant is like in human terms.

Blue Planet II was more forthright, declaring a war on ocean plastics that has gathered much pace and enthusiasm since the show first aired in Two years later, and Seven Worlds, One Planet saw storms generated by global anthropogenic climate change blow albatross chicks out of their nests. But they had been gazumped: Netflix had already recruited the same community of producers, filmmakers and naturalists to produce their own series, Our Planet. This, surely is what the BBC should have been making years ago.

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