Could the New Polkadot Update Boost Cryptocurrency?

By October 9, 2021Polkadot
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Institutional and retail investor interest in Polkadot is increasing. One of the main events is Polkadot’s listing on EToro. The social trading platform will allow more traders to access this cryptocurrency. Unfortunately this offer is not yet present in the USA. This will certainly lead to an increase in trading volumes, with a possible appreciation of the listing.

Web3, Polkadot’s wallet platform, raised $ 2.35 million to offer additional wallet functionality by the end of November. With the development of NFTs, DotSama, combining Polkadot and Kusama, will make the cross-chain between the two networks compatible. This is to increase the trading volume of NFTs.

New update for the Polkadot network

The Polkadot blockchain does not stand still. In fact, the Polkastarter multichain IDO platform released the latest update last weekend, in order to increase the inclusion of the Polkadot community. The update will allow users, through the staking and IDO farming options, to be able to achieve returns.

Polkaster will allow cross-chain projects to take advantage of a platform to raise funds for investment. It has already raised $ 11 million since Monday. In addition to this is added the release of the DAO governance framework by the aggregator DeFi Dot.Finance.

This will allow investors to vote. This will be allowed for those with 2,500 PINK tokens. They will be able to decide on the future strategy of the platform, which could lead to an increase in on-chain activity and support the price of Polkadot.

Polkadot Technical Analysis: What Levels To Keep An Eye On

Polkadot’s price in recent weeks has been wedged between two Fibonacci levels at $ 38.85 and $ 26.78. From observing the 9 and 21 period averages, after bouncing near $ 13.7068, the fastest average cross occurred in the week of August 23, giving a good signal of entry.

The price was affected by the $ 38.8556 level, using it as resistance. The price then retreats to test the 21-period average, which proved to be dynamic support. The current price of $ 33.704, with the breakout of resistance, can point to a May high at $ 49.64.

For a look at all of today’s economic events, check out our economic calendar.

This article was originally posted on FX Empire


The review of Songbird, a sci-fi thriller produced by Michael Bay that transforms the health emergency into a dystopian premise.

Songbird: a scene

There Songbird review, movie American science fiction that arrives in Italian cinemas after being released in VOD at home at the end of 2020 (the writer has seen it on Amazon Prime Video in Austria), also involves a reflection on how ethical it is to bring a tragedy to the screen, still very current , such as the COVID-19 pandemic (the film was the first US production to be shot after the lockdown), with the aim of turning a global drama into an entertainment product. A similar doubt arose in the Italian context when Enrico Vanzina, more or less in the same period, drew a comedy from the concepts of the red zone and DPCM, defending himself from the accusations of having profited from the health crisis (in fact his film in this sense is perfectly harmless). Defense that can hardly be applied to this new production of Michael Bay (also intervened, uncredited, as director for the action parts), who in addition to not a few aesthetic defects is also penalized by an undoubtedly bad taste premise.

Pandemic and Juliet

Songbird: a moment of the film

Songbird is set in 2024, and imagines a world where the pandemic is still ongoing, due to a virus mutation known as COVID-23. On US soil, this situation is particularly serious: to leave the house it is necessary to check the body temperature with the phone, and those affected by the disease are forcibly removed from their homes and sent to the so-called Q Zones, real and proper. concentration camps where there are only two alternatives: heal or die. Nico Price (KJ Apa) is immune as he has contracted the virus previously, and is therefore used to deliver home deliveries to affluent customers in Los Angeles. Nico has a long-distance relationship with Sara Garcia (Sofia Carson), a young artist who lives with her grandmother but does not physically interact with her, due to security measures. Nico and Sara would like to meet in person, but things get complicated when the building in which she lives begins to become a hotbed and attracts the attention of Emmett Harland (Peter Stormare), in charge of “cleaning”, ie the removal of the infected.

Locked Down, the heist movie that tells the pandemic

Irresponsible production

Songbird – an image

The making of the film was marred by a little controversy, as the actors’ union initially requested that its members boycott offers to star in the film due to unclear security protocols, only to turn around once it was determined that they would be. took all necessary precautions (crew reduced to a minimum, social distancing, actors kept separate off the set with lots of remote rehearsals). Precautions partly facilitated by the nature of the project itself, with few main actors, almost never present in more than two at a time, and the use of real Los Angeles places without passers-by due to the restrictive measures in force at the time. And it is this overlap between real and fake that makes the basic idea of ​​the film at least questionable, given the socio-political context in which it was made: director and co-screenwriter Adam Mason, perhaps also for budget reasons, makes no particular efforts to separate his fictional Los Angeles from his real one, with the consequence – unintentional, but largely predictable – that those who are prone to conspiracies (and in the case of the pandemic, even those in power until last November have contributed) could easily mistake the premise science fiction for a plausible story based on real events kept hidden, in perfect style “Don’t heaven say!“.

Michael Bay’s cinema: the ten cult scenes

Songbird: a picture from the film

To this is added the more substantial problem of the general flatness of the operation, which takes a delicate subject and declines it in the most banal way possible, giving the impression of a instant movie so botched that by comparison our Italian-style Lockdown looks like a Monicelli from the golden years: we are in the science fiction area, but with the space granted to love story and other human relationships (see the marital crisis among the very listless Bradleys Whitford and Demi Moore) one wonders what sense it made to imagine a near future that is almost irrelevant to the main plot. Only in a few moments you can glimpse what perhaps the authors had in mind, through the ramshackle performance of Peter Stormare who finds (even if not in the control room) Michael Bay almost ten years after the last collaboration (Pain & Gain – Muscles and Money) and reminds us why he’s one of the best bad guys on the square. But it is a tiny amount of pepper in an hopelessly tasteless dish, paradoxically ended up in our rooms despite being, at best, something with which to kill time on a platform if you really don’t have anything better to do.


We close the Songbird review, underlining how much it is a lifeless instant movie that transforms the pandemic into a sluggish dystopian thriller, shot in such reduced conditions that even the morbid fascination of viral dystopia is heavily watered down.

Because we like it

  • Peter Stormare is amazing.

What’s wrong

  • The premise is ethically questionable and cinematically poorly executed.
  • The actors are almost all listless.
  • The action system is almost non-existent.

Direction: Tim Burton; screenplay: Sam Hamm, Warren Skaaren; photography: Roger Pratt; music: Danny Elfman; Scenography: Anton Furst; Costumes: Bob Ringwood; performers: Bruce Wayne / Batman (Michael Keaton), Jack Napier / Joker (Jack Nicholson), Vicki Vale (Kim Basinger), Alexander Knox (Robert Wuhl), James Gordon (Pat Hingle), Harvey Dent (Billy Dee Williams), Alfred Pennyworth (Michael Gough); producers: Jon Peters, Peter Guber, Benjamin Melniker, Michael E. Uslan; Production Company: Warner Bros. Pictures, Polygram Filmed Entertainment; country of production: United States of America-1989; duration: 126 ‘.

Genesis of the 1989 film

Waiting for The Batman with Robert Pattinson, let’s rediscover the saga of the Dark Knight, fully available on Amazon Prime Video (click on this link to subscribe), starting from the first film directed by Tim Burton. Batman was released in US theaters on June 23, 1989, while in Italy on 20 October of the same year. It is a timeless classic, which has proved a great success since its release: proves to be the first film to derive at least 100 million of dollars in the first ten days of distribution, resulting in the DC Comics film product with the highest box office receipts until 2008 (the year of The dark Knight by Christopher Nolan).

For many critics it is described as the film that helped create the image of the modern superhero, with Superman by Richard Donner. For some Batman it appeared too obscure, but this feature would later represent the hallmark of the DC Comics universe. However the intent was precisely to return to the true nature of the hero after the lighter and more fun atmospheres of the 1960s TV series: “My idea was to make the final version of Batman, serious and dark, the way Bob Kane and Bill Finger had imagined it in 1939. A creature of the night, who hunted down criminals in the shadows”.

With this ideal Michael E. Uslan, ex-comic writer, wanted to give new life to a superhero who was losing popularity in the late seventies. After becoming a lecturer at Indiana University, Uslan made the first course of study in comics in 1971. Thanks to this racing he gained fame and an offer from DC Comics. At the time CBS still held the rights to the Gotham Crusader and wanted to propose Batman in Outer Space. The film never came out and the rights to the character were sold by DC Comics to Uslan and producer Benjamin Melniker..

The project started immediately with great enthusiasm, but big names like Columbia Pictures and United Artist rejected Uslan’s idea as it was too far removed from the Batman imagery brought by the series with Adam West. Uslan, Melniner and the new producers Guber and Peters presented their new project at Universal, but got a further rejection until Comic Art Convention of 1980, when the new film of Bruce Wayne’s alter ego was announced, with the collaboration of Warner Bros.

Tom Mankiewicz made the first attempt to make the film by imagining a story based on the origins of Dick Grayson, in which Batman would be played by an unknown actor, supported by more well-known William Holden as Gordon, David Niven as Alfred and Peter O’Toole as Penguin. Between 1981 and 1983, the disappearances of Holden and Niven slowed down the production of the film a lot, although the major called several directors to continue the project. In 1985 the turning point came with the call from Tim Burton, a promising young director, from Warner Bros.

The Killing Joke And The Return of the Dark Knight are the major sources of inspiration for the film, but Burton was not an experienced comic reader and asked Sam Hamm for help: as a great fan, the latter decided not to give life to a film on the origins of Batman, but letting the details of his past emerge through flashbacks inserted in the plot. Bob Kane’s appreciation wiped out the major’s petty fears about Hamm’s script and, after the success of Beetlejuice, Warner Bros was finally confident in its Dark Knight movie. The actor for Bruce Wayne also comes from the 1988 film by Tim Burton.

Is Michael Keaton Really the First Batman?

In the collective imagination, Tim Burton’s film is the first cinematic adaptation of Batman; but this is not the case and several other actors have portrayed Bruce Wayne before Michael Keaton: Columbia Pictures produced a film serial in 1943 with Lewis Wilson as the protagonist and another in 1949 with Robert Lowery; in 1966 Adam West reprized his iconic role in a spin-off of the same name of the television series, produced by 20th Century Fox.

Mel Gibson, Dennis Quaid, Kevin Costner, Harrison Ford, Charlie Sheen, Pierce Brosnan, Tom Selleck and Bill Murray were considered for the lead role in the 1989 film. Following in the footsteps of Richard Donner who called Christopher Reeve to play Superman, Tim Burton chose a little-known actor, Michael Keaton, with whom he had already worked in Beetlejuice. This choice was criticized by many, starting with Bob Kane, Sam Hamm and Michael Uslan to the fans, who sent 50,000 letters of protest to Warner Bros. The actor was known for roles in comedy films and was far from the action target required by the production.

Despite the initial judgments, Michael Keaton’s performance was quite convincing; during the shooting he read The Return of the Dark Knight by Frank Miller and performed almost all the fight scenes without a stunt double. Personally, he convinced me especially in the role of hero compared to that of billionaire, showing the grim and serious expression of the Gotham City Crusader. The actor gave away one of the most iconic lines in the film: in the scene in which he confronts the criminals in the shadows of the city, to the question ‘Who are you?’ he should have answered ‘I am the night’, but Keaton improvised by announcing ‘I’m batman’.

Batman vs Joker on the Gotham City stage

“Tell me child … do you ever dance with the devil in the pale full moon?”

The confrontation between the hero and the enemy represents a circle that closes, with the origins of the Dark Knight and the Joker terribly intertwined.. Without one the other cannot exist, an endless struggle, famous and loved by all comic fans. The figure of the villain is inspired by that seen there Return of the Dark Knight of Miller, but above all to the Prince of Crime of The Killing Joke by Alan Moore: its genesis takes up the famous scene of the robbery gone wrong in a chemical factory. The name Jack Napier, instead, it is invented and derives from the English slang term ‘jacknapes’, which indicates a stupid person.

Difficult to choose the best cinematic Joker, each has its peculiarities, but Jack Nicholson gives us the best interpretation of the Burton film. Although Tim Curry, Willem Dafoe, David Bowie, Robin Williams and James Woods were considered for the part, Uslan and Kane had only Nicholson in mind. At first the actor was not convinced and only after an “extraordinary” agreement did he accept: his contract specified the number of hours per day he wanted to devote to filming and it was so profitable that Jack Nicholson entered the Guinness Book of Records as the highest paid actor in history for a single performance.

Bruce and Joker’s love object is Vicki Vale (Kim Basinger). Sean Young (Blade Runner) was supposed to play her, but broke her collarbone while shooting a scene on horseback that was supposed to appear at the beginning of the film. Even Keaton’s idea of ​​hiring the African American actor Billy Dee Williams (Lando Calrissian de The Empire strikes again) to interpret the district attorney Harvey Dent was at the center of discussions. Burton would later want to develop this character over the course of subsequent films, with the possible transformation into the villain Due Facce.

Batman received numerous Golden Globe, BAFTA and Saturn Award nominations and in 1990 was awarded the Oscar for Best Production Design for Peter Young and Anton Furst. Thanks to them and to the direction of Tim Burton we admire a Gotham City between gothic and diesel-punk that is also inspired by Metropolis by Fritz Lang. Finally, the soundtrack of the film is also unforgettable with the notes of Danny Elfman, formerly a collaborator of Burton in Pee-wee’s Big Adventure And Beetlejuice, accompanied by the art of Prince.

Click here to buy the Blu-ray of Batman on Amazon.

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