yacht film the island

The Island (2005)

Directed by michael bay.

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The Island is a 2005 American science fiction-action film directed by Michael Bay, starring Ewan McGregor and Scarlett Johansson. It was released on July 22, 2005 in the United States, and was nominated for three awards, including the Teen Choice Award.

It is described as a pastiche of "escape-from-dystopia" science fiction films of the 1960s and 1970s such as Fahrenheit 451, THX 1138, Parts: The Clonus Horror, and Logan's Run. The film's plot revolves around the struggle of McGregor's character to fit into the highly structured world he lives in, isolated in a compound, and the series of events that unfold when he questions how truthful that world is. After he learns the compound inhabitants are clones used for organ harvesting and surrogate motherhood for wealthy people in the outside world, he escapes.

The film cost $126 million to produce. It earned only $36 million at the United States box office, but earned $127 million overseas, for a $162 million worldwide total. The original score for the film was composed by Steve Jablonsky, who would go on to score Bay's further works. It was also the first film directed by Bay that was not produced by Jerry Bruckheimer.

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The Cinema Within: spectacle, labour and utopia in Michael Bay’s The Island

In this article, I will analyse Michael Bay’s The Island (2005) as a cinematic spectacle which, through its imaginating of a particular dystopian future, lays bare the machinery of spectacular visuality that is crucial to the mode of Hollywood spectacle cinema that Bay’s work is often held to exemplify. I will suggest that the formal apparatus of the utopia/dystopia, and of science fiction itself, allows for a reading of The Island as a kind of self-conscious critique of spectacle cinema within the formal apparatus of spectacle cinema, which works in part through thematising visuality and in part through making visible the very apparatus of cinematic production itself. In this, I will draw upon the work of Jonathan Beller, and in particular his book The Cinematic Mode of Production , and a mode of film theory and criticism in which cinema is foundationally implicated in the production of ideology. In Beller’s work, which draws on Guy Debord, Jean Baudrillard and Fredric Jameson, ‘cinema’ can be understood not only as an effect of the circuits of late capital, where spectacle is an extension of ideology, but as a means by which capital extends its operations into new productive domains, into attention and the ‘work’ of spectatorship. My reading of The Island suggests that it is a particularly important film in Bay’s oeuvre, in that it marks a point at which Bay’s visual strategies of cinematic spectacle turn back on themselves and the formal presentation of visuality within a utopian/dystopian paradigm affords the potential for critique, both within and without the film.

In ‘Entertainment and Utopia’, his landmark article on the relation between popular cinema and modes of reception, Richard Dyer traces a continuity between a form of utopian longing, ‘the image of “something better” to escape into, or something we want deeply that our day-to-day lives don’t provide’, and forms of entertainment produced within ‘patriarchal capitalism’. (1) The formal difference between entertainment and the formal utopia ‘is contained in the feelings it embodies. It presents, head-on as it were, what utopia would feel like rather than how it would be organized’. (2) Dyer does not present this potential unproblematically; he notes how in entertainment there is a ‘struggle between capital (the backers) and labour (the performers) over control of the product’, but that ‘as a relatively autonomous mode of cultural production, it does not simply reproduce unproblematically patriarchal-capitalist ideology’. (3) In this light, then, can we say that Bay’s The Island is able to negotiate a space of critique of contemporary conditions of spectacular capitalism? Does it have ‘relative autonomy’ to the economic and representational systems of which it both partakes and presents in estranged form? These are questions which this article will pursue, if not answer.

The Island deliberately re-works utopian and dystopian images and tropes, and has clear generic relations to literary works such as George Orwell’s Nineteen Eighty-Four and Aldous Huxley’s Brave New World . The first part of the film is located in a ‘utopia’ (clearly indebted in its mise-en-scéne to earlier dystopian films such as THX1138 (1970) and Logan’s Run (1976)), located in what seems to be a post-apocalyptic world where survivors of some kind of biological catastrophe are maintained inside a controlled environment. As the film progresses, the machineries of the controlled society are gradually revealed from the point of view of an increasingly alienated and questioning protagonist, the ‘agnate’ Lincoln Six Echo, played by Ewan MacGregor. The viewer, then Lincoln himself, become aware that the world of The Island is a simulacrum, a construction created by Dr Merrick (Sean Bean) to create and sustain clones of wealthy ‘sponsors’, which may be used for the purposes of organ donation, surrogate pregnancy, or other purposes. When the ‘citizens’ (the clones) ‘win the lottery’ and are relocated to The Island, the last uncontaminated spot on Earth, they are in fact taken out of the sealed environment and are subjected to medical procedures which inevitably result in their death. The second part of the film is an extended chase narrative, where the escaped Lincoln and his partner/ lover Jordan Two Delta (Scarlett Johansson) attempt to understand the ‘real’ (near-future) world into which they have escaped through a form of primal confrontation with Lincoln’s original or ‘sponsor’. I will read the first part of the film as an investigation into the hidden machineries of power and control which serve to construct a delusive world for the agnates to believe in, which operates as a staging of the apparatus of cinema as a technology of spectacle and ideological deformation; and I will then propose the second half of the film as a reversal of the terms of the first, as escape into the conditions of spectacle cinema, where cinema itself becomes a kind of utopia, an escape from work into leisure, pleasure or the delirium of Bay’s hyper-kinetic narrative.

To establish the relation between cinema and ideology that is at the centre of my reading of The Island , I will first turn to Jean-Luc Comolli and Jean Narboni. It should be understood that Comolli and Narboni, as does Jonathan Beller, use ‘cinema’ not simply to mean the dominant (Hollywood) mode of cinematic production, but as a structural term for considering the relation between ideology and representation. This article is self-consciously revisiting that mode of ideological reading of cinema, but I should say here that I am not making a case for a totalised and ahistorical characterisation of cinematic production. I would rather propose Michael Bay’s cinema as a particular instance of a contemporary ‘cinematic mode of production’, with Beller’s theoretical intervention strongly to the fore in reading spectacle and visuality as effects of the circuits of late capitalist production. Although writing in 1972, and therefore before the advent of Hollywood spectacle cinema in its effects-driven maturity (after Star Wars (1977)), Comolli and Narboni identify a fruitful ideological reading of cinema:

Clearly, the cinema ‘reproduces’ reality’: this is what a camera and film stock are for – so says the ideology. But the tools and techniques of film-making are a part of prevailing ideology. Seen in this light, the classic theory of cinema that the camera is an impartial instrument which grasps, or rather is impregnated by, the world in its ‘concrete reality’ is an eminently reactionary one. What the camera in fact registers is the vague, unformulated, untheorized, unthought-out world of the dominant ideology. (4)

Drawing upon an Althusserian definition of ideology, wherein ‘Ideology represents the imaginary relationship of individuals to their real conditions of existence’, Comolli and Narboni go on to suggest that ‘Cinema is one of the languages through which the world communicates itself to itself. They constitute its ideology for they reproduce the world as it is experienced when filtered through the ideology’. (5) Cinema becomes an ideological apparatus , in Althusser’s terms, presenting the ‘imaginary relationships of individuals to their real conditions of existence’. Comolli and Narboni (following Althusser) implicate cinema as ideology itself , a means by which the ‘imaginary relationships’ of ‘Ideology’ frame people’s understanding of the world.

How, then, to escape the all-encompassing determinism of an Althusserian Ideology, where cinema is always-already re-inscribed in the machinery of ideological reproduction and domination? Comolli and Narboni suggest that it is cinema’s status as a communicative act that allows the possibility of cinema to talk about itself , to assume a meta-critical discourse within the film itself:

The film is ideology presenting itself to itself, talking to itself, learning about itself. Once we realize that it is the nature of the system to turn cinema into an instrument of ideology, we can see the film-maker’s first task is to show up the cinema’s so-called ‘depiction of reality’. If he can do so there is a chance we will be able to disrupt or possibly even sever the connection between the cinema and its ideological function. (6)

In talking about itself, then, the film is able to demonstrate that it is talking ideologically. It cannot escape ideology, but it can bring its own ideological practices into view and thereby, for the viewer, allow a disruption between the ‘depiction of reality’ (or ‘imaginary relationships’) and the everyday ‘real’. This functions by way of estrangement which, in Darko Suvin’s famous definition of science fiction, is the genre’s ideological potential. Suvin defines science fiction as:

a literary genre or verbal construct whose necessary and sufficient conditions are the presence and interaction of estrangement and cognition, and whose main formal device is an imaginative framework alternative to the author’s empirical environment. (7)

Working also in a Marxian tradition, Suvin proposes that science fiction’s particular ability is that, through the presentation of a world alternate to the reader’s (or viewer’s) own ( estrangement ), the text is able to provoke a kind of thoughtful dislocation ( cognition ) in the reader/viewer in which the very ideological constructedness of the ‘real’ world is revealed through the presentation of an alternative other. This definition of the genre, very-well known and influential yet still controversial within the field (largely for what the definition excludes as sf), is partly a consequence of Suvin’s reading of science fiction’s generic history (itself still contested), in which he places the Utopian tradition at its core. Indeed, the similarity of Suvin’s definition of science fiction, above, to the definition of utopian fiction he offers, is manifest:

Utopia is, then, a literary genre or verbal construction whose necessary and sufficient conditions are the presence of a particular quasi-human community where socio-political institutions, norms and individual relationships are organized on a more perfect principle than in the author’s community, this construction being based on estrangement arising out of an alternative historical hypothesis . (8)

What science fiction and the utopian tradition share, then, is the potential for ideological work upon the reader (or viewer), in the potential for estrangement, for bringing Ideology into view. The Ideological ‘depiction of reality’ (in an Althusserian sense) may be disrupted by the very generic apparatus that forms the text.

The double movement of estrangement, in which the ‘real’ is recognised in the representation of another world/ time, and its familiar structures made strange, is not only an effect of science fiction or utopia, of course. Estrangement effects reveal the relation between text and world in Modernist fragmentation, in postmodernist ‘self-consciousness’ and meta-textuality, and in the formal apparatus of modes in which the system of representation leaves an aporia or absence where some matter has been ‘hidden’. In Stephen Heath’s ideological reading of cinema in Questions of Cinema , he proposes a ‘something else’ that is repressed by the film Touch of Evil (1958), a freight which is present and ‘which criticism does not fail to respond’ but which the film itself cannot explicitly acknowledge. (9) Deploying a Freudian discourse to a mixture of ideological and semiotic criticism, Heath rather poetically concludes his reading of the film by stating:

The something else, the other film of which this film says everywhere the slips and slides: the narrative of the film and the history of that narrative, the economy of its narrative production, its logic. To approach, to experience the textual system can only be to pull the film onto this double scene, this process of its order and of the material that order contains, of the narrative produced and the terms of its production. Analysis must come to deal with this work of the film, in which it is, exactly, the death – itself the disturbance – of any given cinema. (10)

For Heath, the film is a signifying system which hides or cannot acknowledge its symbolic freight, but which contains this ‘double’ signification, but within and without the film. The insistence on the work of the film – earlier, Heath argues that ‘the film must hang together; the narrative, therefore, must work’ – is both an ideological and a symbolic work, but one in which the very means of production of the film are hidden codes within it. (11)

As I suggested above, it is the particular function of the genres of science fiction and utopian fiction to bring the hidden ‘double’ of the text – the time and place of its own production – into view through estrangement. In Bay’s The Island , this is explicitly presented through the collision of two worlds – the underground ‘utopia’ in which Lincoln Six Echo lives – but also in the way in which visual technologies are themselves part of the fabric of the film, as a machinery through which the denizens of ‘utopia’ are deceived as to their condition and future. While I am not going so far as to suggest that The Island is a Marxian film, its playful mining of the tradition of utopia leads to the exposure of its own codes of production, which are explicitly spectacular. The very imaging technologies, operated by groups of undifferentiated technicians, which form the illusory Island are the very ones which produce The Island . In this way, Bay’s film stages the hidden codes that are outside itself, and performs a double estrangement: in terms of the narrative, and in terms of genre. I will return to this shortly.

Before doing so, I would like to explore in more detail the connection between ideology and spectacle, particularly through the influential work of Guy Debord and his text The Society of the Spectacle. Debord, a key member of the Situationist International, theorised a shift in the ideological construction of reality through the pervasive immersion of human beings in technological mediation. Debord’s fourth section of The Society of the Spectacle consists entirely of the phrase: ‘The spectacle is not a collection of images, but a social relation among people, mediated by images’. (12) This appears to be, if not a restatement of Althusser’s definition of Ideology as ‘the imaginary relationship of individuals to their real conditions of existence’, then at least a parallel statement of the interrelation between ideology and representation. The spectacle is not simply media, or film, or television, or advertising; it is a ‘social relation among people’, constructing the very experience of the real. Debord continues:

The spectacle, grasped in its totality, is both the result and the project of the existing mode of production. It is not a supplement to the real world, an additional decoration. It is the heart of the unrealism of the real society. (13)

The spectacle becomes the totality of social relations; it ‘is nothing other than the sense of the total practice of a social-economic formation […] It is the historical movement in which we are caught’. (14) Graham MacPhee, in The Architecture of the Visible (2002) suggests that ‘Debord’s account of the spectacle offers itself as an extension of [Georg] Lukàcs conception of reification to the realm of visual experience’. (15) Reification is a term used to theorise a reduction, in capitalist economies and modern systematization, of human social relations to a relation between things, an extension of commodification into lived experience. MacPhee suggests that Debord himself reduces Lukàcs’ conceptualization in ‘wholly identif[ying] spectacular vision with “the incessant spread of the precise technical rationality” of modern thought’; the consequences of this are that ‘[i]n identifying visual experience with systematic unity of modern thought, Debord not only accepts modern thought’s claims to unity and coherence, but also drastically reduces the possibilities of critique’. (16) The difference between Lukàcs and Debord is summarised thus: ‘the moments of incoherence [in lived experience] that Lukàcs saw as the opportunity for developing immanent critique are misrecognized by Debord as the necessary and unavoidable condition of reified experience’. This leads to what MacPhee diagnoses as the ‘unrelenting picture of total domination and total passivity implied by Debord’s account of the spectacle’. (17) Debord’s ‘spectacle’ presents the same problems for critique as does Althusser’s Ideology; but the potential of spectacle to lay bare its own visualising technologies is crucial to MacPhee’s reading of trompe l’oeil , and in particular Jean Baudrillard’s use of trompe l’oeil as a metaphor for simulation in Seduction . MacPhee notes that, in Seduction ,

Instead of seeing vision as a transaction which either returns the illusory substantiality of a ‘real’ world or the blank image of simulation, the unsettling effect of tromp l’oeil [ sic ] points to another experience altogether: what is returned or made visible within the jarring experience of tromp l’oeil are the conditions of visuality themselves. (18)

MacPhee suggests that, unlike Baudrillard’s theorisation of simulacra in Simulacra and Simulations , in which he famously (or notoriously) proposed the orders of simulation in which the contemporary mode of signification is one in which a free-floating sign-system of contemporary images becomes its own pure simulacrum, entirely free from the ‘real’, the idea of the trompe l’oeil is inherently estranging and offers a potential opening for critique. Baudrillard himself writes:

the trompe l’oeil does not seek to confuse itself with the real. Consciously produced by means of play and artifice, it presents itself as a simulacrum. By mimicking the third dimension, it questions the reality of this dimension, and by mimicking and exceeding the effects of the real, it radically questions the reality principle. (19)

Trompe l’oeil therefore oscillates between the ‘real’ and the ‘simulacrum’, and in this ‘mimicking’ introduces an element of estrangement. It is a double vision, both real and unreal, both material and artificial: ‘suddenly this seizure rebounds onto the so-called “real” world, to reveal that this “reality” is naught but a staged world’. (20) Trompe l’oeil is thereby a form of visual estrangement, and can be turned to purposes of critique.

Where The Matrix (1999) (wonderfully described by Jonathan Beller as ‘the late-capitalist social-realist film’ in The Cinematic Mode of Production ) self-consciously staged its world-games through Baudrillardian lenses, to the extent of referencing Simulations and Simulacra within the mise-en-scène , Michael Bay’s The Island instead relies upon the estranging double movement of the trompe l’oeil . (21) The scenario of The Island is that its inhabitants live in a post-catastrophe ‘utopia’ (a highly regulated and enclosed system) who are subject to a lottery wherein they have the chance to leave for ‘the Island’, the only remaining natural habitat outside of the walls of utopia that remains uncontaminated by whatever biological catastrophe is presumed to have befallen the human race and the Earth’s ecology. The Island is a green paradise set among crystal-blue seas, an idealised space that is first encountered at the very beginning of the film in a narrative sequence that is revealed to be a dream, experienced by Lincoln Six Echo. The escape to the Island is symbolically attached to dream-work, a crucial element of The Island (as I shall explore below); but it is also cinematic spectacle, presented to the viewer across several levels of the film’s diegesis (as Lincoln’s dream, as the illusory zone of escape within the machinery of utopia and, at the end of the film, as a ‘real’ space attained by Lincoln and his fellow escapee from utopia, Jordan Two Delta).

The mise-en-scène of The Island juxtaposes the lush, tropical Island, seen by the inhabitants on wall-sized television screens as well as through a ‘window’ onto an outside ‘reality’, with the blue/grey palette of the reinforced concrete, chrome and glass that make up the physical fabric of utopia, as well as the (branded) white Lycra sports gear that make up the inhabitants’ uniform. The ‘green world’ outside the (glass) walls of Utopia is a motif that derives, ultimately, from Yevgeny Zamyatin’s We , but where Zamyatin’s utopia used transparency as an index of the dystopian state’s surveillance and control by imagining apartment blocks made of strengthened glass, The Island ’s use of transparency is to do with the illusory imaging power of visual technologies: the seeming difference between the televisions and the windows masks their underlying equivalence. The ‘windows’ in fact look out onto a cylindrical holographic projection, visible from anywhere in ‘Utopia’, that acts as a 360° panorama, a visual prison that replicates the shape of Bentham’s Panopticon but reverses the direction of the gaze (as it does the direction of the gaze in We ): the subjects look out upon the spectacle presented to them as ‘real’, and it is their belief that this spectacle is real that controls them. The trompe l’oeil of the window is implicated in technological spectacle by its homology with the wall-sized television screens; when Lincoln and Jordan discover the holographic projection mid-way through the film, on effecting their escape from utopia, this completes a visual circuit for the viewer that had been suggested much earlier in the film.

The homology between the visualising technologies within the diegesis, and those that bring The Island to the cinema or television screen before the viewer, is the way in which Bay’s trompe l’oeil opens up the codes of cinematic spectacle (that is the currency of his films) to the possibility of critique. Just as Lincoln and Jordan are deceived by the power of the visual, so may we be; just as they are relieved of their delusions, so may we be. For the viewer, the narrative revelation that the ‘Utopia’ is a manufactured illusion is produced not only by identification with Lincoln’s trajectory of alienation from the codes and doxa of the Utopia in which he lives (doubts and questions that are shared among many of the inhabitants, it is suggested), but by the progressive revelation of the hidden machinery of Utopia which maintains the system. It quickly becomes apparent that Lincoln is able to access (albeit illegitimately) areas of ‘Utopia’ which are entirely staffed by ‘workers’, particularly in visiting Mac (Steve Buscemi), who operates the machinery of Utopia in levels or zones which are typically hidden from the denizens of Utopia.

This is curious, in some ways, because the guards, the medical staff, and the canteen staff are entirely visible to both Lincoln and the viewer, but are somehow unseen . These ‘visible’ workers are of the same status as those who work the machinery ‘behind the scenes’; although visible, they do not play the lottery, and are thereby workers not citizens . This implied hierarchy (of visibility) is a form of biopolitics, a distinction between zoē and bios , between ‘bare life’ and political existence, that Giorgio Agamben elucidates in Homo Sacer . Agamben suggested that a decisive transition in modernity can be said to come at the point at which ‘bare life’, zoē , previously excluded from ‘political life’ (the fully human), was drawn into the sphere of the political. Agamben writes:

the fundamental categorical pair of Western politics is not that of friend/enemy but that of bare life/ political existence, zoē / bios , exclusion/inclusion. There is politics because man is a living being who, in language, separates and opposes himself to his own bare life and, at the same time, maintains himself to that bare life in an inclusive exclusion. (22)

Modern democracy, then, ‘is constantly trying to transform its own bare life into a way of life and to find, so to speak, the bios of zoē ’. (23) The world of The Island is structured by a radical division between zoē and bios , between the ‘bare life’ of the workers (excluded from the possibility of escaping to the Island) and the ‘political existence’ of those who play the lottery: between exclusion and inclusion. The distinction between zoē and bios seems to be organized through the ascription of labour: in The Island , it first appears that it is work that separates ‘citizen’ from ‘worker’, those who may attain the state of natural grace symbolized by the Island and those who remain excluded from it.

Rather than being a privileged class that are sustained by the labour of a biopolitically-excluded working class, it is revealed that the white-clad inhabitants of Utopia, like Lincoln and Jordan, are ‘agnates’, clones that have been grown and nurtured within a closed social system in order to maintain their optimum biological health in order for that health (in the form of organs or, in one case, as a surrogate parent) to be harvested by the ‘sponsor’ or biological original. Just as the Eloi are fed and supported by the Morlocks as ‘product’ or as human cattle in H.G. Wells’ The Time Machine , the agnates are produced as disposable biological entities which act as a form of ambulatory insurance policies: against disease, accident, or other form of biological hazard. The biopolitical field is reversed: zoē becomes bios , the workers are the ‘true’ citizens, for they are not simply ‘product’ without the right to life. Mac, who helps Lincoln and Jordan when they escape, tells them: ‘You’re not human… not real… not like a real person, not like me… you’re clones… copies’; although, it must be added, that Mac’s own right to life is held to little account by those who are sent to retrieve Lincoln and Jordan, and he is murdered in helping them escape to Los Angeles.

The film striates the use of work or labour as a marker of zoē and bios in scenes where Lincoln, Jordan and others are put to work in the Department of Labor. This seems entirely redundant; what they do – squirt liquids into tubes, which are then fed down to developing agnates at levels hidden from them – could be much more easily and less problematically be accomplished by machine. Setting the inhabitants to work is clearly to do with the sense of purpose that Merrick suggests is crucial for the longevity of the human organism (experiments with agnates in a persistent vegetative state were unsuccessful); the sense of purpose and of hope that also necessitates the lottery for escape to the Island, one which also rationalizes the disappearance of fellow citizens when their ‘sponsors’ require their organs. The ‘real’ work of monitoring, guarding and feeding the inhabitants is invisible to them, while their own work operates somewhere between childish emulation/ play and routinized distraction. When Lincoln ascends the levels to find the other machinery of Utopia – the operating theatres and medical technicians who take organs from the ‘product’ and send them on to the sponsors – it reveals the true work or labour that he and his fellow inhabitants have been engaged upon: to develop and maintain physical health so this may be transmitted to the sponsor at a time of need. As we will see shortly, this biology exceeds its design parameters and the system that produces it, eventually destroying the system itself.

The connection between the hidden work and machinery of Utopia, and the trompe l’oeil spectacle of the Island, offers a potential to read The Island not as a political parable but as a critique of the power of spectacle itself, and in particular the imaging technologies of cinema that are themselves hidden in the construction of the spectacle film. Here, I wish to turn to the work of Jonathan Beller, in particular The Cinematic Mode of Production , as a means by which to articulate a critique of the nexus of work, visuality and spectacle, and how the work of the spectator , in terms of a burgeoning ‘attention economy’, is inscribed into the narrative of The Island . In The Cinematic Mode of Production Beller draws upon the work of Jonathan Crary (although he only cites his work a couple of times), in particular Techniques of the Observer and Suspensions of Perception to frame a Marxian reading of the relation between cinema and economy through regimes of attention. Crary, in both books, sets out a historical analysis of the shift in strategies by which the human sensorium was programmed to adapt to the repetitive tasks of industrial production, particularly during and after the 19 th century. Crary, in Suspensions of Perception argued that the idea of attention became increasingly investigated in the fields of both psychology and optics in the 19 th century because of the perceived tendency in human workers towards distraction , in what Crary calls ‘an emergent economic system that demanded attentiveness of a subject in a wide range of new productive and spectacular tasks, but whose internal movement was continually eroding the basis of any disciplinary attentiveness’. (24) The conditions of a ‘modern’, industrial, increasingly consumption– as well as production– oriented economy, pulled the human subject in two directions. Firstly, what Walter Benjamin called the ‘shock’ of modern existence (urban living, machinery, speed, advertising) creates an increasingly distracted subject in an increasingly kaleidoscopic world; and secondly, the very economic conditions that produce this kind of world require a working subject who is able to maintain long periods of attentiveness to complex and repetitive tasks (over a 10- or 12-hour working day in a factory, for instance). Beller extends Crary’s mode of analysis into a Marxian reading of contemporary capital which, he argues, is historically coterminous with the rise of cinema and the development of a society of the spectacle. Beller’s work is more than an elucidation of Debord, however; though he proposes ‘the cinema’ to mean ‘the manner in which production generally becomes organised in such a way that […] creates an image that […] is essential to the general management, organisation and movement of the economy’, the focus is upon production rather than alienation, and in particular the construction of a spectatorial subjectivity that is put to work . (25) As we saw above, Jean-Luc Comolli had asserted the relation between cinema and ideology and, as quoted by Beller, that ‘the spectator …works’. (26) Crucially, Beller identifies the turning of human attention to productive ends to be an effect of capitalist economies that seek new territories to exploit:

From a systemic point of view, cinema arises out of a need for the intensification of the extraction of value from human bodies beyond normal physical and spatial limits and beyond normal working hours – it is an innovation that will combat the generalized falling rate of profit. It realizes capitalist tendencies toward the extension of the work day (via entertainment, email), the deterritorialization of the factory (through cottage industry, TV), the marketing of attention (the advertisers), the building of media pathways (formerly roads), and the retooling of subjects. (27)

The spatial paradigm – territory, expansion, colonisation – is connected to a Marxian analysis of accumulation, wherein the exhaustion of resources and the ‘falling rate of profit’ necessitates the acquisition of new ‘territories’. The political collective RETORT, in their book Afflicted Powers: Capital and Spectacle in a New Age of War , read the ‘War on Terror’ following 9/11 and the 2003 invasion of Iraq in terms of Marx’s ‘primitive accumulation’, a return to an age of ‘violent expropriation’ that particularly marked the age of colonialism, but one that is marked by new conditions of mediation: ‘primitive accumulation is to be carried out in conditions of spectacle: that is the new reality in a nutshell’. (28) RETORT find a kernel of hope in this spectacular turn:

A new round of technical innovation has made alienation-into-a-realm-of-images a pervasive, banal, consistently self-administered reality . The dystopian potential of such an apparatus is sufficiently clear. But in present circumstances it has at least the benign side-effect of making control of imagery that is a necessity of war and occupation, as opposed to the tendential and structural ‘management’ of appearances appropriate to peacetime – truly hard to maintain. (29)

As with the trompe l’oeil , the conditions of visuality of the spectacle themselves offer the possibility of critique in their very visibility . Beller is critical of Afflicted Powers , and what he characterises as its weakness of ‘understanding of the relationship between media and what the collective calls “primitive accumulation”’, in its emphasis on 9/11 as a ‘huge blow to the state’s control and organization of the spectacle’ and its organisation of the invasion of Iraq as a ‘quasi-hysterical endeavour to overcome this defeat in the spectacle’. Beller’s focus, instead, is upon ‘the necessary daily calibration of spectators […] as well as the transformed proprioception of subjects’. (30) Where RETORT propose primitive accumulation operating on a macrocosmic or geo-political scale, expropriating the oil fields of Iraq, Beller suggests that it is the interior landscapes of subjectivity that are the focus of economic exploitation; the human body and the human sensorium are, for capital, ‘the next frontier’. (31) One should note that in his most recent book, 24/7 , Jonathan Crary has proposed a similar extension of disciplinary regimes (his approach is more overtly Foucauldian than Marxian) into previously ‘free’ areas: not only the elimination of ‘the useless time of reflection and contemplation’, but the extension of productivity through the minimising or evacuation of the need for sleep. (32) Crary juxtaposes the space/time of reflection with the imperatives of economic expansion and exploitation, wherein ‘reverie’ is outside the disciplinary regimes of labour: ‘[o]ne of the forms of disempowerment within 24/7 environments is the incapacitation of daydream or of any mode of absent-minded introspection that would otherwise occur in intervals of slow or vacant time. […] There is a profound incompatibility of anything resembling reverie with the priorities of efficiency, functionality, and speed’. (33) Where Beller differs is that in his analysis, unconsciousness and dream has already been produced by the conditions of cinema .

As I noted above, The Island begins with shots of a crystalline blue sea, a rocky coastline and islands, as something out of a tourist advertisement or glossy travelogue. This effect is magnified when a large, angular motor yacht appears, upon which Lincoln and Jordan pose in the sun. This scene, clearly imbued with jet-set fantasy, is then disrupted: anonymous threatening men appear, who push Lincoln from the boat and struggle with him underwater. After a rapid montage, Lincoln awakes in the utopian facility, and the foregoing sequence is revealed as a dream. Although dreams are monitored in The Island – Dr Merrick conducts analytical sessions with Lincoln, where the latter draws the boat – they are not manipulated within the minds of the inhabitants, and in fact operate as a separate and in some senses free space of unconscious drives. When trying to escape, Lincoln and Jordan fall into a conditioning room where recently birthed agnates are subjected to a barrage of televisual programming, broadcast by arrays of mini-monitors. In a clear reference to A Clockwork Orange (1971), the agnates’ eyelids are held open while the ‘messages’ are broadcast directly into their eyes, forming their subjectivity. If this acts as a kind of ‘unconscious’ sub-stratum of foundational conditioning, Lincoln’s dream-work exposes an unconscious beneath this unconscious, a double subjectivity which repeats his own condition as agnate/ clone. Dr Merrick begins to understand that what Lincoln Six Echo has been dreaming is built upon the memories of Tom Lincoln (also played by MacGregor, but with a Scottish accent, and as an amoral, exploitative, privileged creep), not the shallow draught of time in which Lincoln Six Echo has lived in the facility. These dreams, a ‘biological’ excess which compromise Lincoln’s status as ‘copy’ (to an extant that, during one of the later chase sequences, Lincoln is able to successfully imitate his ‘sponsor’ and avoid being killed), signify at once the irreducibility and transmissibility of dream-space and fantasy. It is not, ultimately, recuperable to the imperatives of control that are fashioned by Dr Merrick and which are continually administered by the hidden machineries of utopia/dystopia.

At the close of the film, where Lincoln and Jordan sit aboard the yacht in reality , the film closes by supplanting ‘the real’ with ‘the dream’, just as Lincoln and Jordan have supplanted their ‘real’ sponsors. In fact, the film suggests that Lincoln and Jordan are better human beings than their sponsors, and the fantasy mobility of the yacht can be considered some kind of reward. However, I think it is possible to argue, particularly in terms of genre, that an escape into fantasy has already been enacted much earlier in the film, at the point at which Lincoln and Jordan escape from ‘utopia’. The facility, it emerges, is underground, funded by the US Defense Department, and in the middle of the desert in the American South-West. Soon after ascending from the facility, Lincoln and Jordan come across a road, and it is the road of the American imaginary of automobility, Route 66: as they run down it towards the nearest town, the film shifts generically from dystopia to chase film, as Merrick engages Albert Laurent (Djimon Hounsou), a French Special Forces veteran, to track down and eliminate the fleeing agnates. Meeting Mac at a roadside bar, Lincoln and Jordan enlist his help in fleeing to Los Angeles to confront their sponsors. Even here, the visual register insists upon spaces ‘behind’ the public façade, the ‘hidden machinery’. Lincoln first catches up with Mac as he sits upon the toilet in the Men’s rest room; at a nearby Maglev station, pursued by Laurent’s henchmen, Lincoln and Jordan run into old workshops, junkyards and sheds, in order to escape. The transition from the ‘private’ (and securitized) space of the underground facility to the public spaces of the ‘real world’ is effected piecemeal, as the escaped couple are exposed to tracking technologies when in the open. In becoming fugitives, they exchange one form of enclosure and secured space for another.

In Los Angeles, Bay’s camera also becomes significantly more mobile. A long chase sequence along a freeway, where Lincoln tumbles large railway wheels from a flatbed truck onto the chasing cars, is madly kinetic and spectacular; when a flying ‘jetbike’ turns up, which is then used by Lincoln and Jordan, CGI becomes particularly intrusive. As the couple zoom among the towers of Los Angeles’ downtown, the CGI becomes ‘bad’, a visible rather than invisible trucage . This, however, is surely deliberate; just as Ewan MacGregor’s American accent as Lincoln Six Echo is considerably less authentic but more attractive than his ‘real’ Scottish one as Tom Lincoln (trading upon MacGregor’s star persona as Scottish ‘bloke’), and Lincoln’s impersonation of Tom Lincoln a crucial blurring (or more properly overturning) of agnate/sponsor, artificial/ real binaries, the intrusiveness of the ‘unreal’ CGI indicates that, in the rhetoric of the film, the fantasy supersedes or is ‘better’ than the real. Lincoln Six Echo and Jordan Two Delta, perfectly toned young adults, objects of the desiring gaze (doubly staged in the case of Johansson, who is the agnate of a film star/ Calvin Klein model who appears to be Johansson herself), are improvements (or upgrades) upon their sponsors, possessed of greater agency and ethical sense, whose affective superiority goes beyond Tom Lincoln’s amoral individualism towards both romantic love and a greater sense of collectivity. Before escaping into the fantasy mobility of Tom Lincoln’s motor-yacht and jet-set lifestyle, they return to the facility to free their fellow agnates.

When the two protagonists escape from Dystopia and enter Bay’s territory, the kinetic chase film, they are not escaping into the ‘real’ (as the freed clones seem to do at the end of the film); instead, they are escaping into cinema , into its fantasy or liberatory potential.While the ‘thriller’ elements of the chase narrative seem to infect the world of Merrick’s facility when he brutally kills another questioning agnate, Gandu Three Echo (Brian Stepanek), with a syringe to the neck, the condition of the trompe l’oeil that allowed the possibility of critique through the visibility of visibility in the ‘utopia’ also regulates the spectacle of the second half of the film. The very end of the film promises an escape from the regimes of work (administration, attention, the biological purpose of the agnates) into a fantasy of leisure and pleasure. The accelerated camera-movement and CGI is not simply a technical and structural element of Bay’s filmmaking, but a release from stasis into ecstatic movement, and the promise of a release from the (dystopian) work of cinematic production into the dream-work of fantastical spectacle. In a sense, The Island attempts to reverse the polarity of ‘spectacle’ itself: from Debord’s and Beller’s imaging system of production and consumption, implicated in opening out new productive territories and colonising subjectivity, spectacle instead becomes a means by which to induce dream, fantasy, a space outside of the regimes of administration and control identified by Beller and Crary.

To conclude, we can return to a much earlier mode of analysis of cinema, the relation of dreaming/ daydreaming and spectatorship proposed by Siegfried Kracauer in Theory of Film: The Redemption of Physical Reality . For Kracauer, cinema induces a state of daydreaming that exceeds the signifying economy of a particular film. ‘The moviegoer watches the images on the screen in a dream-like state’, Kracauer suggests:

[a] trance-like immersion in a shot or a succession of shots may at any moment yield to daydreaming which increasingly disengages itself from the imagery occasioning it. Whenever this happens, the dreaming spectator, who originally concentrated on the psychological correspondences of an image striking his imagination more or less imperceptibly, moves on from them to notions beyond the orbit of that image. (34)

This, then, is the capacity that confirms Lincoln Six Echo’s alienation from the dystopian system of the facility, the excess of dreaming which leads him behind the trompe l’oeil to the machineries. It is the importance of the cinema within , the fantasy/ dream imagery with which the film begins and ends, which propels Lincoln towards liberation, and that is what The Island proposes for its own spectators. As Kracauer proposes, ‘the moviegoer finds himself in a situation in which he cannot ask questions and grope for answers unless he is saturated physiologically’: that ‘unless’, the necessity for immersion in the dream, motivates the precedence of spectacle over narrative, fantasy over the ‘real’. (35) It is fantasy, the dream, that in The Island and in Bay’s cinema tout court , is the source and site of utopia. When Richard Dyer states, in ‘Entertainment and Utopia’, that the problem for conceptualising entertainment as utopia is that ‘entertainment provides alternatives to capitalism which will be provided by capitalism’, the ‘escape’ offered by The Island is thrown into stark relief (36); in a sense, for Bay, the solution to the problem of spectacle is spectacle, the way out of the cinematic mode of production is cinema itself.

This article has been peer reviewed.

1 . Dyer, Richard. ‘Entertainment and Utopia’, in Only Entertainment . London: Routledge, 2002: 20.

4. Comolli, Jean-Luc and Jean Narboni. ‘Cinema/Ideology/Criticism’. In Film Theory and Criticism: Introductory Readings , edited by Leo Braudy and Marshall Cohen. New York and Oxford: Oxford University Press, 1999. 752-9: 755.

5. Ibid . 755

6. Althusser, Louis. ‘Ideology and Ideological State Apparatuses’. In Lenin and Philosophy and other essays , translated by Ben Brewster. London: NLB, 1971. 123-173: 153; Comolli and Narboni, 755.

7. Suvin, Darko. ‘Science Fiction and Utopian Fiction: Degrees of Kinship’. In Positions and Presuppositions in Science Fiction . Basingstoke: Macmillan, 1988. 33-43: 37.

9. Heath, Stephen. Questions of Cinema. London and Basingstoke: Macmillan, 1981: 143.

11 . Ibid. 134

12. Debord, Guy. Society of the Spectacle . Detroit: Red and Black, 1983. [n.p.]: section 4.

13. Ibid. section 6

14. Ibid. section 11

15. MacPhee, Graham. Architecture of the Visible: Technology and Urban Visual Culture. London and New York: Continuum, 2002: 72.

16. Ibid. 73; 74

17. Ibid. 74; 75

18. Ibid. 81

19. Baudrillard, Jean. Seduction. New York: St. Martin’s Press, 1990: 63.

21. Beller, Jonathan. The Cinematic Mode of Production: Attention Economy and the Society of the Spectacle. Lebanon NH: University of New England Press, 2006: 7.

22. Agamben, Giorgio. Homo Sacer: Sovereign Power and Bare Life . Translated by Daniel Heller-Roszen. Stanford CA: Stanford University Press, 1998: 12.

23. Ibid. 13

24. Crary, Jonathan. Suspensions of Perception: Attention, Spectacle, and Modern Culture . Cambridge MA: The MIT Press, 2001: 29; Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. Cambridge MA: The MIT Press, 1990.

25. Beller, op. cit. 10

26. Ibid. 11

27. Ibid. 13

28. RETORT (Iain Boal, T.J. Clark, Joseph Matthews, Michael Watts). Afflicted Powers: Capital and Spectacle in a New Age of War. London and New York: Verso, 2005: 75; 187.

29. Ibid. 187

30. Beller, op. cit. 284; 285

31. Ibid. 202

32. Crary, Jonathan. 24/7. London: Verso, 2013: 40.

33. Ibid. 88

34. Kracauer, Siegfried. Theory of Film: the redemption of physical reality. New York: Oxford University Press, 1960: 302; 166.

35. Ibid. 310

36. Dyer, op. cit. 27

50 Things We Learned from Michael Bay’s ‘The Island’ Commentary

Michael Bay ‘s filmography is filled with big blockbuster hits, and of his thirteen feature films all but two of them grossed more than twice their budget — with most earning 3 – 5x the budget. 13 Hours (2016) failed to find an audience, but before that gung-ho military debacle Bay’s only real box-office misstep was 2005’s The Island . It’s a shame too as it’s a fun movie. Seriously. Sure it’s over-edited, illogical, and fairly cheesy at times, but the action is stellar, the score is fantastic, and it has just enough of an ethical argument at its core to make it thought-provoking. And again, it’s fun!

Keep reading to see what I heard on the commentary track for…

The Island (2005)

Commentator: Michael Bay (director)

1. “I was adamant that we do this bizarre dream sequence,” he says referring to the opening scenes showing Lincoln ( Ewan McGregor ) on a boat before being tossed in the water and drowned by unexplained mutants.

2. The opening landscapes were filmed off New Zealand while the boat scenes were shot near Italy.

3. That’s a real boat called the Wally Power. It came from Italy and cost the owner $25 million. “A little too modern for my taste, but at least I got it before Michael Mann got it for Miami Vice .”

4. “Art, story, and design have very much to do with when I’m working on a script,” he says, adding that they worked to develop a visual language and studied architectural references from Japan and futuristic designs.

5. Bay “called in a favor” to get Michael Clark Duncan in the film for two days of filming. “I figured since I discovered him in a gym and put him in Armageddon , and he went on to do Green Mile and get an Academy Award nomination.”

6. Part of his sales pitch to Duncan when casting him in Armageddon apparently involved the line: “You are going to be the first black man that does not die first. You are not going to die, and that is a twist.” It’s unclear if this is Bay being funny or if he really just needs to watch more movies.

7. The underground compound design is based on ideas regarding bunkers made to keep the president and other government officials alive after an attack for up to two years. That bled into the story too as the company is meant to be in business with the Pentagon studying how to clone an army. “You’ll see little references to that fact in the movie later.”

8. He told the actors playing the clones that they were essentially children. “That’s why a lot of them have this kind of childish innocence here, and it was something fun for the actors to play.”

9. Bay’s office kept getting yachting brochures sent to them for some reason. “I’m not going to go on a yacht trip and rent it for a quarter million dollars for a week, you gotta be out of your mind.” They weren’t for him, but it did make him recognize how beautiful the boats were and decided to make Lincoln a boat designer. “That’s how you get ideas in movies, they just right from your real life.”

10. The shot starting at 15:53 of the nano trackers crawling into Lincoln’s eye was accomplished with a special bellow lens that required a tremendous amount of light. The closeup on his eye being held opened involved ILM digital work and string glued to McGregor’s eyelids and then pulled. “Quite painful process, fun scene to do though.”

11. “Certain people” at Dreamworks wanted him to take out the scene with Jones ( Ethan Phillips ) showing Lincoln his scribbled conspiracy notes. “I opted to keep it in because to me this is the One Flew Over the Cuckoo’s Nest scene. This is the patient trying to figure out that something is wrong here, and I couldn’t have Lincoln be the only guy wondering.”

12. The scenes with Lincoln visiting James ( Steve Buscemi ) in the bowels of the facility were filmed in an old and unused power plant in Los Angeles. “Wouldn’t you know, the day we start shooting there, LA has some power outages and they called this generator plant to provide backup power.” It all powered on, and in addition to becoming so loud they had to wear “ear muffs” it also raised the interior temperatures to 110 degrees.

13. Bay felt that Caspian Tredwell-Owen ‘s original script was missing a scene showing how the clones are birthed and grow. “He thought it would be opening up Pandora’s Box to show that stuff, but I just think as a viewer it’s some of the cooler stuff to see.”

14. He credits Alex Kurtzman and Roberto Orci , who came on for rewrites, with adding a lot of great work to the second and third acts. The only specific example he gives, though, is the butterfly bit in the first act.

15. Some people seemed to think that all the product placements meant they “were whoring out the movie and making a commercial, but let’s face it guys, the world is focused on products. Products surround us, and for us to think in the year 2019 that we’re not going to still be focused and have products and labels flying at us from every different vantage point is just unreal.” That’s his official statement on accusations that he’s a whore.

16. The club scene took four hours to light, but when Bay arrived on set he felt it was “the unhippest place I’ve ever seen in my entire life.” The gaffer ( Michael Bauman ) and cinematographer ( Mauro Fiore ) were both new parents and were apparently unfamiliar with clubs. It’s at this point where Bay proceeds to mimic Fiore’s Italian accent.

17. The “dude” bit was an improv at his suggestion after realizing that the word has more than a dozen meanings.

18. Steven Spielberg said McGregor “looked like a young Harrison Ford when he saw the dailies.”

19. He thinks Scarlett Johansson is going to have an amazing career. “Not only is she a pain in the ass to work with, and I mean that in the best way, she is classy, she’s feisty, she’s just very daring.”

20. The original script was set one hundred years in the future, but they kept bringing it closer to the present for budgetary reasons.

21. The location where they filmed the medical hallways were shot in an unused headquarters built for a high-tech company for $250 million. They presumably went bust before being able to use the building.

22. The post-birth scene — the clone has given birth and the doctors are taking the baby and euthanizing the woman — was a major reason why Bay took on the film.

23. Editors for the airline version wanted to cut the scene above, but Bay said absolutely not. He insisted it stay, and they said at least remove the stirrups. He again said no, and they compromised by blurring them out.

24. McGregor improvised the slide along the floor at 40:23.

25. He was “the first guy in the country” to have the compact Arriflex 235, and he goes on to sing its praises for handheld shots.

Related Topics: Commentary Commentary , Michael Bay , The Island

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The power yacht at the end of The Island ?

Discussion in ' Powerboats ' started by laurentk , Sep 17, 2006 .

laurentk New Member

Hello guys, I am new to the forum, and desperatly trying to find the designer name of the yacht that you see at the end of the movie The Island. For those who didn't see it, but might have an idea, here is a (vague) description: must be aprroximately 120/150 feet, dark green body, looks very very futurist, dark (black smoked glass) cabin, and some kind of side parts at the back of the boat that can expand when berthing. Thank you so much ! Laurent

I found it ! The most amazing boat ever (for me ....) This is it: http://en.wikipedia.org/wiki/118_WallyPower http://upload.wikimedia.org/wikipedia/en/c/c9/118WP.jpg http://extremetechnology.blogspot.com/2006/03/extreme-superyacht.html http://www.wally.com/default.asp?bflash=1 And pictures here: http://images.google.com/images?lr=&ie=UTF-8&oe=UTF-8&q=118 WallyPower&sa=N&tab=wi http://flickr.com/search/?q=118 Wally Power&m=text Thx ! Laurent

Willallison Senior Member

The Wally is an extraordinary vessel. Though the 118 is not without its flaws - for instance, it is apparently impossible to see the horizon, let alone the water from the helm whilst the boat is at speed! More importantly - was it a good film?

Frosty Previous Member

3 RR turbine engines !!! one can only immagine what the fuel consumtion will be plus you will probably need a day to learn how to start them. Real macho stuff but of all the boats that have ever been called a millionares boat,-- then this must be it. Its ugliness is beyong description , but its ugliness becomes confusing to the mind to the point that you have to re calibrate ugly, untill its ugliness doesnt matter. Its as ugly as a tank, some people like tanks. A very strange boat-- you iether like it or you dont.

Well, Jack, it's always the same questions. When facing a Honda Civic, everybody will agree on a common well designed car that rolls. When facing a Lamborghini Murciélago, some will love it, some will hate it, but none will stay "feelingless". So ... is it what we call art ? And is the WallyPower 118 a work of art ? However, I totally understand that someone would hate it ... I certainly agree with Will, for me, it is a beautiful vessel .... And I actually hapened to see it in real this summer in Bonifacio, Corsica, crusing in a turquoise bay.... And ..... wow. As for the movie, I loved the photography of the film .... very esthetic. I also liked the story, but this is debatable )

Wayne Grabow Senior Member

World's most outstanding yachts There was a television tour of this yacht on a program whose topic was world's most outstanding yachts. It does have that love/hate reaction on people; certainly expands the universe of yacht types. The fuel bill must be it's most impressive statistic.

wonder if that's available for download...

If you go on the website, there is a promotional movie you can watch. Besides showing how esthetic this boat is (for the ones on the love side ), they also show in detail the how functional it is intended to be. AND to answer your question, they give the consumption .... and as I know nothing about the powerboat world .... I didn't really understand But I am sure you'll find it interesting !

fish is a fish Junior Member

The fuel capacity is 5,812 gallons. Fuel consumption at top cruising speed is one liter per second, or about 15 gallons per minute! no thanks not with the gas prices in CA.

vandutch Junior Member

Stealth "sex appeal" Boat This VanDutch boat may interest those that liked the boat featured in the Island. It has a stealth sex appeal with the same avant garde genre.

Attached Files:

Vandutch_33.jpg, 500252_2c.jpg.

Andiamo Junior Member

Are you the builder of that Van Dutch?? The style rocks. How much change does it set a guy back and whats it top out at?

longcours62 Junior Member

I never could understand : sex appeal ...for a boat ! But if you compare the forms of the Wally and the forms of Adastra In my point of view I found the second one more 'avant garde genre' and I don't ask about the the comparaison of the consumption betwen each of them !!

adastra_afloat.jpg

Alik Senior Member

longcours62 said: ↑ I never could understand : sex appeal ...for a boat ! Click to expand...

It look Alik said: ↑ 'Sexy boat' usually means sleek nonsense of 100+ feet in length. It is like a 'sexy' woman - impractical, with terrible character and needs a lot of money to own/maintain Click to expand...

lol. well, this sexy one is not at 100+ feet. She must have wings (she was Redbull sponsored). She flies at an excess of 45 knots. She is for a type of personality, definitely not for everyone. The practicality depends on what you're looking for: if you're asking fuel consumption, depends on the model (i.e. engine choice). Character: what you see, no hidden agenda (unlike a sexy woman). Maintenance: the designer's choices had practicality in mind based on all the articles I've read about it. If you want her to strattle then take an Adastra because VanDutch's flexibility is measured in other regards.

vandutch_REDBULL_PASSION.jpg

Foiler Power Yacht

Designing and building small tunnel hull powerboat

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The Island is a 2005 American science fiction thriller film directed by Michael Bay and starring Ewan McGregor and Scarlett Johansson .

On July 19, 2019, Lincoln Six Echo and Jordan Two Delta live with others in an isolated compound. This dystopian community is governed by a strict set of rules. The residents are told that the outside world has become too contaminated to support life with the exception of a pathogen-free island. Each week, one resident gets to leave the compound and live on the island by way of a lottery.

Lincoln begins having dreams that he knows are not from his own experiences. Dr. Merrick, a scientist who runs the compound, is concerned and places probes in Lincoln's body to monitor his cerebral activity. While secretly visiting an off-limits power facility in the basement where technician James McCord works, Lincoln discovers a live moth in a ventilation shaft, leading him to deduce the outside world is not really contaminated. Lincoln follows the moth to another section, where he discovers the "lottery" is actually a system to selectively remove inhabitants from the compound, where the "winner" is then used for organ harvesting , surrogate pregnancies , and other important purposes for each one's wealthy sponsor, of whom they are clones.

Merrick learns Lincoln has discovered the truth about his existence, which forces Lincoln to escape. Meanwhile, Jordan has been selected for the island. Lincoln and Jordan escape the facility and emerge in the desert. Lincoln explains the truth to her, and they set out to discover the real world. Merrick hires Burkinabé mercenary and former GIGN operative Albert Laurent to find and return them to the compound.

Lincoln and Jordan find McCord, who explains that all the facility residents are clones of wealthy sponsors and are kept ignorant about the real world and conditioned to never question their environment or history. Merrick explains to Laurent that while the public is told that the clones are kept in a persistent vegetative state, trials had shown that the organs would only survive if the clones had consciousness, which is in violation of eugenics laws.

McCord provides the name of Lincoln's sponsor, yacht designer Tom Lincoln, in Los Angeles and helps them to the Yucca maglev station, where they board an Amtrak train to LA before mercenaries kill him. In New York City, Jordan's sponsor, supermodel Sarah Jordan, is comatose following a car crash and requires transplants from Jordan to survive. Lincoln also meets Tom, who gives him some explanation about the cloning institute, causing Lincoln to realize that he has gained Tom's memories. Tom seemingly agrees to help Lincoln and Jordan reveal Merrick's crimes to the public, but secretly betrays them to Merrick and Laurent, as he desperately needs Lincoln's liver to survive his cirrhosis . Tricking Lincoln into leaving with him, Tom brings him to an ambush that results in a car chase through suburban LA and ends with Lincoln tricking Laurent into believing Tom is the clone and killing him, allowing him to assume Tom's identity. Returning to Tom's home, Lincoln and Jordan give in to their romantic urges and have sex.

Merrick surmises that a cloning defect was responsible for Lincoln's memories and behavior, resulting in him and every future clone generation to question their environment and even tap into their sponsor's memories. To prevent this, he decides to eliminate the four latest generations of clones. Lincoln and Jordan, however, plan to liberate the other clones. Posing as Tom, Lincoln returns to the compound to destroy the holographic projectors that conceal the outside world. Jordan allows herself to be caught to assist Lincoln's plan. Laurent, who has moral qualms about the clones' treatment after witnessing their fight for survival and learning that Sarah Jordan may not survive even with the organ transplants, helps Jordan. Lincoln kills Merrick with a harpoon gun , and the clones are freed, seeing the outside world for the first time. As Laurent seemingly gives up his mercenary life, Lincoln and Jordan sail away in one of Tom's boats together toward an island, fulfilling their dream of one day going to such a place.

Ewan McGregor as Tom Lincoln / Lincoln Six Echo
Scarlett Johansson as Sarah Jordan / Jordan Two Delta
Djimon Hounsou as Albert Laurent
Sean Bean as Dr. Merrick
Michael Clarke Duncan as Jamal Starkweather / Starkweather Two Delta
Steve Buscemi as James "Mac" McCord
Ethan Phillips as Jones Three Echo
Glenn Morshower as Medical Courier
Chris Ellis as Aces & Spades Bartender
Tom Everett as The President
Shawnee Smith as Suzie
Kim Coates (uncredited) as Charles Whitman [ ci

Currently available on 4 streaming services.

The Island (1980)

114min - English

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David Nau leads a band of modern day pirates who raid yachts and sail boats of people on vacation in the Caribbean. When reporter Blair Maynard and his son arrive to investigate the mystery of the disappearing boats, Nau and his band of raiders decide to induct them into their tribe.

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The 10 Most Memorable Yachts in Movies

Yachts equate to luxury in real life and on the big screen, and they've been featured in a huge list of hit films. Sometimes yachts are used for romantic interludes, other times they're put to work as the ultimate getaway vessel or as the scene of an ostentatious celebration. No matter what the occasion, the main point of inserting any yacht into any film is to elicit some kind of "ooh" or "ahh" from the audience. These movies accomplish that and more.

In no particular order, here are 10 of the most memorable yachts that have been featured in movies.

1. Usher, Entourage (2015)

Usher, also known as Mr. Terrible, is the 47 meter superyacht in the 2015 movie Entourage. On screen, it symbolizes the decadent lifestyle of main character Vincent Chase, played by actor Adrian Grenier. This yacht was fitting for the movie, as it really is as lavish as it looks. It sports an elevator, spacious sundeck, Jacuzzi, five luxurious cabins, and has been used for partying off the coast of Florida and in the Caribbean in real life. It accommodates up to 12 guests and was engineered to be a powerful performer.

2. Northern Cross aka Manticore, Goldeneye (1995)

One of Pierce Brosnan's most memorable performances as Bond was in 1995's Goldeneye, in which he saves the world from a global financial terror plot. In the film, the yacht Northern Cross was called Manticore and served as the residence of smooth assassin Xenia and her crew. Northern Cross is actually available for charter in the Baltic Sea, and it costs tens of thousands of dollars to do so. The 43 meter yacht hosts up to 12 passengers and has six fabulous suites. It ranks as one of the favorite yachts in movies among Bond fans.

3. R Rendezvous aka Left Hand, Donnie Brasco (1997)

Few who have seen the crime drama Donnie Brasco will forget the yacht seen in the movie, Left Hand. It was an integral part of the plot, not just a nice showpiece, but its looks alone make it one of the more memorable yachts in movies. Called R Rendezvous off-screen, the 34 meter yacht was produced in 1992 and it still stands today. Those with the cash to charter R Rendezvous get to enjoy its onboard Jacuzzi, big sundeck, and three cabins with plush amenities.

4. Attessa, Overboard (1987)

Attessa was the yacht featured in the 1987 romantic comedy Overboard, starring Kurt Russell and Goldie Hawn. The interesting thing is this yacht actually belongs to a super rich man named Dennis R. Washington. He's an industrialist worth several billion dollars who loaned the 144 foot long Attessa to the crew while the movie was in production. Washington also lent the boat to the producers of the 1993 Demi Moore film Indecent Proposal.

5. Kingdom 3KR aka Flying Saucer, Never Say Never Again (1983)

Kingdom 3KR, the yacht seen in the 1983 Bond film Never Say Never Again, was special for several reasons. Not only was it in Sean Connery's final movie in the franchise, it was the most expensive yacht in the world at one time. Kingdom 3KR also has an interesting history. Donald Trump bought the 86 meter superyacht for a whopping $29 million, revamped it, and dubbed it the "Trump Princess". He later sold it for $40 million to a Saudi billionaire flush with cash in 1991. The yacht now has its own movie theater onboard, a helipad, dance floor, and can host up to 22 passengers in 11 suites.

6. Lady M aka Naomi, The Wolf of Wall Street (2013)

The Wolf of Wall Street is all about excess and its pitfalls, so you know the film had to include a super swanky yacht. In the movie Leonardo DiCaprio's character, Jordan Belfort, gifts the yacht to his wife, played by Margot Robbie . The boat is named after her, Naomi. The vessel was shown prominently onscreen as the site of raucous parties and all types of debauchery.

In actuality, the 44 meter Lady M was built for luxury cruising and has a host of lavish details. A professional grade gourmet kitchen, marble flooring, a baby grand piano, wet bar, Jacuzzi, and five stylish staterooms all combine to make it super impressive and one of the most expensive yachts in movies.

7. Helios 2 aka Anson Bell, Syriana (2005)

Matt Damon and George Clooney gave award winning performances in the 2005 drama Syriana, and the Anson Bell -- real name Helios 2 -- was at the center of the action. The 51 meter custom yacht has an aluminum superstructure and hull, along with a state of the art stabilization system. Engineered by esteemed brand Palmer Johnson, Helios 2 really is the epitome of luxury in all its forms, just as it was in Syriana. It has five gorgeous cabins and can be enjoyed by up to 12 guests.

8. M3 aka Soufriere, Casino Royale (2006)

Daniel Craig made his first appearance as 007 in 2006's Casino Royale, and he did so while looking suave on the M3. It was called Soufriere in the film, and was custom made for the movie in 2005 by none other than British company Spirit Yachts. When it carried Bond and Vesper Lynd on a romantic trip through Venice, it became the first yacht to travel the Grand Canal in three centuries. The 32 meter sailing yacht can reach a top speed of 43 knots and has four cabins onboard. It also has advanced media systems, a spa pool, and enough water toys to keep anyone entertained for hours.

9. Wallpower 188 aka Renovatio, The Island (2005)

Ewan McGregor starred in the 2005 Michael Bay film The Island, in which he notably sketches the look of a yacht that's imprinted in his psyche. A modern sci-fi flick about a utopia needs an awesome boat, right? That role was filled by Renovatio, which is really called the Wallpower 188 and was built in 2002. This particular yacht oozes class and its angular profile makes it stand out. The 36 meter vessel reaches a top speed of 60 knots, has a Rolls-Royce Kamewa water jet onboard, and dons a color shifting exterior. The Wallpower 188 has won many yacht and design awards, and is renowned around the world for its innovative features and style. It was put on the market after the movie's production for $33 million.

10. White Knight, The Bourne Identity (2002)

The White Knight yacht was shown in 2002 in the first installment of the Bourne franchise, The Bourne Identity. Jason Bourne, played brilliantly by Matt Damon, goes onto the boat to attack one of his targets. Bourne ultimately doesn't carry out the mission, but White Knight looks spectacular nonetheless.

People can actually charter it in the Mediterranean, and it was built in 1985. The yacht underwent renovation in 2010 to make it better than ever. It now has 8 large cabins, an outdoor dining area, and a wealth of amenities and entertainment options.

Written by Garrett Parker

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Minnesota Yacht Club Festival — which almost didn’t go on — draws fans from all over the Midwest

Minnesota yacht club festival.

Harriet Island was transformed into a house of music Friday and Saturday, attracting an estimated 60,000 enthusiastic rock ‘n roll fans.

“Alanis Morissette was amazing, Gwen Stefani was amazing,” exclaimed Dustin Thill, from drove from Green Bay. “Nice weather, we had no complaints.”

The inaugural Minnesota Yacht Club Festival got some big kudos from music lovers.

Chopper 5 revealing the true size of the crowd — a sea of people. “It’s overwhelming at first, but then you get used to it,” said Brooke Bline, from Sioux City, Iowa. “It’s really fun.”

From Gen-Z to millennials… some with their kids in tow, said they were having a great time.

“Chili Peppers and the Offspring,” smiled Amanda Welder, who drove from Bismarck, North Dakota. “We love concerts.”

But the festival almost didn’t go on. That’s because the Mississippi River rose to 20 feet in early July from heavy spring rains.

Much of the venue was underwater — the eighth-highest crest ever in St. Paul.

“I was very apprehensive that it was going to go on two weeks ago,” noted Trevor Olson from Andover. “The floodwaters were basically up to the bottom of the window. Actually, I came out and scouted last Friday as to where we were going to park and stuff.”

But that was then, and this is now.

The river dropped 11 feet in two weeks.

Festival goers say the turf in viewing areas was perfectly dry.

“This was really nice,” Welder said. “The lines were short, the bathrooms were organized, the crowd was good, everything was great.”

Bline brought alone her 5-year-old daughter Winter.

It was her very first concert.

“We went to Lollapalooza one year, and so every year, she’s been asking to go,” Bline explained.

So… is all this like the state fair, or maybe Woodstock?

“I’d say a mixture of both because it’s really Minnesota nice,” she said. “Everybody’s very polite and cool. I don’t know, a good time so far.”

The city says hotels in downtown St. Paul were booked solid, and bars and restaurants were busy.

Already, organizers are taking about doing this next year.

StarTribune

It was smooth sailing for opening of minnesota yacht club, the new music festival in st. paul.

Liz and Tom Glenn knew how to plan for a full day at a big music festival with their kids in tow.

The Shoreview family arrived Friday at the inaugural Minnesota Yacht Club Festival on Harriet Island in St. Paul with a blanket, a stroller and other parenting accoutrements like the Tushbaby. That's a fanny-pack device that a parent can strap on and hold a child in front for dancing.

And Liz did just that with Vera, 7, during Michigander, the favorite act of Zander, 4, who studied the Kalamazoo indie rock group on YouTube.

"This is their first concert," said Liz, 42, whose first festival was Lilith Fair back in the 1990s.

Minnesota Yacht Club is the first music festival since 2012 at Harriet Island, which has a long history of such events including Riverfest and Taste of Minnesota.

But as the elitist moniker might suggest, Minnesota Yacht Club (MYC) was a first-class operation — from electronic wrist bands of various strata to riverboat cruises — presented by C3 based in Austin, Texas, which stages Lollapalooza in Chicago and the Austin City Limits Music Festival in Texas.

"They do great on events. It's dialed in," said Jay "J-Bird" Cook, who helped organized the Soundset hip-hop festival in the Twin Cities from 2009 to 2019. He came to MYC with his wife and daughter to see Joan Jett, "one of my childhood crushes."

Such '90s stars as Alanis Morissette and Gwen Stefani on Friday drew a crowd of 34,000, mostly between the ages of 45 and 60 (Red Hot Chili Peppers and the Offspring are slated for Saturday). There are two stages, running opposite each other, with about a minute passing when one stage finishes and the other begins.

Greg Pilkington, 61, of Salt Lake City was disappointed that the Black Crowes, the act he most wanted to see, canceled on Thursday night because of illness. But otherwise he was impressed.

"This is well thought out," said the New Orleans Jazz Fest regular. "The food was OK, better than most fests but not as good as Jazz Fest."

He added that the video screens on the two stages were "small for a venue of this size."

The good thing, several festgoers mentioned, was that you could stay in one spot and still see the other stage even though it was a couple of football fields away.

Chris Foley, 53, of Dayton was impressed by "how much infrastructure they have. I thought they wouldn't put in enough money. The sound is so good we could hear from the St. Paul Hotel. And the vendors are set up so people can spend money as fast as they can."

Some festgoers in long lines might disagree. One bearded man was about 40th in line at the mocktail stand. "It's either this or go sober," he said, declining to give his name. But he'd already done his good deed for the day, volunteering to fill up a large garbage bag with empty cans in exchange for a free festival T-shirt.

Of course, he could have paid $40 for the shirt at the merch tent, where there were special express lanes for Chase cardholders and VIP ticket holders.

Paxton Schenck,14, of Woodbury tapped her feet in the VIP bleachers to Jett's "I Hate Myself for Loving You."

"It's really cool," she said. Her only previous concert, she said, was Katy Perry.

But she and her aunt, Elizabeth Hjelmen, 43, of Minneapolis wanted to head down to the field to get close to the stage for Stefani. Good move, because Stefani's husband, country superstar Blake Shelton, joined her for "Purple Irises."

St. Paul Mayor Melvin Carter welcomed the crowd before Stefani took the stage at dinnertime. He asked for a round of applause for all the St. Paul workers who helped make the festival run smoothly in a city park, and praised the partnership with C3 promoters.

"If you want to come back next year," Carter said, "then make some noise."

The crowd hollered back at him.

Several veteran festivalgoers had suggestions for next year.

"They need more seating for VIP," said Amy Ross, 65, of Albuquerque, N.M. "It's not a cheap ticket for a two-day festival — $675. Selling chairs would be a huge money maker."

Sporting a Joan Jett & the Blackhearts T-shirt, Mike Latour, 67, of Minneapolis, a veteran of Coachella and Lollapalooza at Harriet Island in the '90s, wished that Jett's set had lasted longer than 60 minutes.

Corey Baesler, 28, of Minneapolis pronounced MYC "not as cool as Bonnaroo but better than Warped Tour or We Fest. Letting people bring in camping chairs would be my recommendation."

With blankets allowed, festgoers just had to plan ahead — like the Glenns did. They arranged for Grandma to pick up the kids about 6:30 p.m., so Mom and Dad could return for the final four hours of music.

Jon Bream has been a music critic at the Star Tribune since 1975, making him the longest tenured pop critic at a U.S. daily newspaper. He has attended more than 8,000 concerts and written four books (on Prince, Led Zeppelin, Neil Diamond and Bob Dylan). Thus far, he has ignored readers’ suggestions that he take a music-appreciation class.

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Spectators filled in the VIP viewing area before Alanis Morissette took the stage Friday at the Minnesota Yacht Club festival at Harriet Island Region

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NEWS... BUT NOT AS YOU KNOW IT

Couple found dead on Atlantic’s ‘Graveyard Island’ while sailing across ocean

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Brett Clibbery and Sarah Packwood were found dead on a remote island in the Atlantic Ocean (Picture: Facebook)

A couple who were trying to sail across the Atlantic Ocean have been found dead washed up in a lifeboat on a remote island.

British musician Sarah Packwood, 54, and her husband Brett Clibbery, 70, were attempting to make their way from Nova Scotia, Canada , to the Azores.

They set sail on June 11 on their 42ft wind and solar-powered yacht named Theros but were reported missing a week later after contact had been lost with the boat.

Their bodies were discovered in a three-metre life raft on Sable Island – a stretch of land dubbed the ‘graveyard of the Atlantic’ around 180 miles east of Nova Scotia – last week.

It’s not yet known how the couple got into trouble on their 2,000-mile voyage from North America to the Portuguese islands, which lie around 870 miles west of mainland Europe.

Brett, a Canadian, was carrying a Garmin GPS device which reportedly pinged a final signal on June 13 around 40 miles south-west of Sable Island.

Police in Halifax have launched an investigation into their deaths.

The couple were attempting to sail from Canada to Portuguese islands the Azores (Picture: Facebook)

Sable Island, which is a long and thin area of land stretching around 28 miles, gained its nickname as the Atlantic’s graveyard for the sheer number of people found dead there through history.

More than 350 shipwrecks have been recorded since 1583, according to the Maritime Museum of the Atlantic, which says the island is near a major shipping route, lies on a common storm path and is surrounded by ‘tricky’ currents.

It’s home to hundreds of wild horses, manned by just a handful of federal government staff with no permanent residents, and is a protected National Park Reserve.

The pair first met at a bus stop in London in 2015 and got married on their yacht one year later before also holding a Celtic marriage ceremony at Stonehenge.

Sarah, who was from Warwickshire and said to be an ‘accomplished sailor’, later moved to Canada with Brett and they lived on land they bought on Salt Spring Island, near Vancouver.

The pair married in 2015 (Picture: Facebook)

As they embarked on their journey, the couple shared a video on their Facebook page, Theros Sailing Adventure, and wrote: ‘Captain Brett and First Mate Sarah set sail on the 2nd leg of The Green Odyssey on board Theros – GibSea 42 foot sailboat.

‘Powered by the wind and sun. Heading east to the Azores.’

Brett’s son James Clibbery paid a heartbreaking tribute to his father on July 13.

‘The past few days have been very hard,’ he wrote on Facebook.

Timeline of Brett Clibbery and Sarah Packwood’s disappearance

June 11: The couple set sail from Halifax, Nova Scotia in Canada on their 42ft wind and solar-powered yacht named Theros.
June 13: Brett’s Garmin GPS device pings a final signal around 40 miles south-west of Sable Island.
June 18: They are reported missing after contact with the boat was lost and a Coastguard search begins.
July 10: Their bodies are found washed up on a three-metre life raft on Sable Island, 180 miles off the coast of Nova Scotia.
July 13: Brett’s son James pays tribute to his father and confirms both Brett and Sarah have died.

‘My father James Brett Clibbery, and his wife, Sarah Justine Packwood have regrettably passed away.

‘There is still an investigation, as well as a DNA test to confirm, but with all the news, it is hard to remain hopeful.

‘I am so very sorry to the people who were friends of them. They were amazing people, and there isn’t anything that will fill the hole that has been left by their, so far unexplained passing.

‘Living will not be the same without your wisdom, and your wife was quickly becoming a beacon of knowledge, and kindness. I miss your smiles. I miss your voices. You will be forever missed.’

John Dolman, a friend of the couple, told local news outlet Times Colonist that they died doing ‘the thing they loved’.

He said: ‘She called him “captain” and called herself the “carpenter’s apprentice”. They were in love. They passed away doing the thing that they loved. Their adventure continues on the other side.’

Get in touch with our news team by emailing us at [email protected] .

For more stories like this, check our news page .

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Crews work to transform Harriet Island for Minnesota Yacht Club Festival

By Ubah Ali

July 17, 2024 / 10:53 PM CDT / CBS Minnesota

ST. PAUL, Minn. — From major floods to a major festival — work is underway to transform St. Paul's Harriet Island into an oasis for festivalgoers.

Around Harriet Island, you may hear heavy machinery now, but on Friday it'll be artists like Gwen Stefani, Alanis Morissette and Red Hot Chili Peppers rocking the stage .

"It's surreal, I sent a pic to the mayor (Melvin Carter) and I can't believe that (stage) is in our park right now," said St. Paul Parks and Recreation Director Andy Rodriguez.

Rodriguez's shock is justified given Harriet Island was flooded after weeks of torrential rain.

The Mississippi River spilled onto the island, swallowing the playground and forcing 11 events to be canceled.

Rodriguez said there was concern for a moment and city leaders and festival organizers did meet to explore other options.

But a stretch of warm days and clear skies arrived just in time.

"We are in really good shape heading into the weekend," he smiled.

Despite water receding, it took a lot to get the island ready for 60,000 people.

"We've probably had 30 plus people down here every day consecutively for about a week and a half, two weeks, getting site prepared," said Rodriguez.

Rodriguez says crews put in countless hours removing silt, checking electrical wiring and making sure park structures were still in good shape.

"We've done everything we need to do in terms of testing, compliance, and inspection and we are ready to go," he said.

Wednesday evening C3 music festival crews were hard at work before Friday's opening act.

Rodriguez says he's excited for one of the biggest festivals to take place.

"Not only great for this park but downtown St. Paul, city as a whole, businesses, hotels it's bring back activation down to the space," he said.

For more information on the Minnesota Yacht Club Festival, click here .

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Love island usa season 1: are zac & elizabeth still together (2023).

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8 Signs Rachel Fuda Is The Villain Of The Real Housewives Of New Jersey Season 14

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Elizabeth Weber and Zac Mirabelli formed a strong bond on Love Island USA season 1. Elizabeth even shared her $100,000 prize with Zac. Was their connection strong enough to last beyond the show?
Elizabeth has been active on Instagram, sharing behind the scenes details about Love Island USA . She also revealed that she and Zac have split up, but they remain friends. Elizabeth's moved on from the breakup, and she's focusing on her modeling/influencer career.
Zac's also pursuing a career as a model and influencer. He shares fun content at YouTube and Instagram, including glimpses into his daily life. While he hinted at a possible romance in 2022, he hasn't publicly shown a new partner this year, and has been less active on social media.

Love Island USA season 1 stars Zac Mirabelli and Elizabeth Weber formed a strong connection during their reality stint, and it's time to talk about whether they stayed together after their installment aired. On Love Island UK and its American spinoff, lasting love can be so hard to find. Did Zac and Elizabeth avoid the pitfalls of trying to sustain an IRL romance, or did they bite the dust? Both are active online, so it's easy to provide answers about their current relationship statuses, and share some fun facts about what they're up to this year.

During Love Island USA season 1 , Elizabeth won $100,000, and shared the money with Zac. That was a generous gesture, which showed that she really cared about him. The outcome was sweet and touching, and quite fitting, as the two were attracted to each other a soon as they met on the show. They clearly had a bond, but was it strong enough to stand the test of time?

Related: Zac & Elizabeth Win Love Island's First US Spinoff

Zac Mirabelli & Elizabeth Weber Split Up After The Show

Elizabeth 's been sharing behind the scenes details about the series on Instagram, which led to heated questions from fans, such as, "did you get your nails done on the show?," which sadly went unanswered. However, before that, at her Elizabeth YouTube channel, she opened up about her breakup, letting her followers know that she and Zac had split up. She said the decision to end the relationship was mutual, and that they were still friends. In late 2019, the duo called it quits, with each deciding to fly solo for a while, and focus on their careers.

What's Elizabeth Up To These Days?

Elizabeth 's a model and influencer, and she's leveraging her Love Island USA season 1 fame. When she isn't, "making my @chanelofficial dreams come true," as per the recent post above, she's using her star power to promote brands, such as Fré Skincare and Auberge Resorts. She seems to have moved on from her split, which happened years ago, but she's not flaunting a new love interest online. In fact, after her relationship with Zac ended, she decided that her future romances would be private. So, don't expect a lot of juicy details about her love life to surface, unless she changes her mind.

Zac Mirabelli Is Shining At Instagram & YouTube

Zac's also a model and influencer, and he posts some fun YouTube content that makes it easier for people to get to know him better. For example, one of Zac 's clips shows what he enjoys doing during the day, as seen above. He spent the day eating, feasting on tacos from a lunch truck, and enjoying some lemon sorbet afterward, in his car. He planned to hit the gym. He's a friendly presence online, smiling a lot. This cheery Love Island USA alum has enough charm to keep followers interested.

Zac did hint at a possible romance in a post from August 2022, where he talked about waiting for his brunch date. However, this year, he hasn't shown off a partner online. In 2023, he hasn't been active on IG, but he's likely going to make an Instagram comeback soon. He's known for posting shots of him enjoying NYC, modeling, and more.

While this Love Island USA season 1 pair weren't destined to be a forever match, they're doing fine as possibly single people. Reality shows are about heightened drama, and adjusting to real life can be tough. Some romances will fail, but the cast members who were involved can always remember the good times. Now that Love Island USA season 5 is up and running, viewers can watch new couples navigate their ups and downs.

Sources: Elizabeth Weber /Instagram, Elizabetth Weber /Instagram, Elizabeth Weber /Instagram, Zac Mirabelli /YouTube, Zac Mirabelli /Instagram

Love Island USA (2019)

The most boats ever will compete in the 100th Bayview Yacht Club race to Mackinac Island

Billed on its website as the “world’s longest continuously run long-distance freshwater yacht race,” the 100th Bayview Mackinac Race is set to start Saturday.

A record-setting 334 boats have registered for the 100th year of the race, shattering the record of 316 in 1985 and a huge contrast compared with the 200 boats that raced last year, said David Stoyka, spokesman for the Bayview Yacht Club, which puts on the race.

Bayview Yacht Club says boats start leaving the Black River in Port Huron around 8 a.m. on race day and will continue leaving until around noon. From the Black River, they will proceed up the St. Clair River, under the Blue Water Bridge, into Lake Huron.

The first scheduled start time in Lake Huron is 11:30 a.m., with starts every 10 minutes until approximately 1:30 p.m. The starts may be delayed due to weather conditions.

This year, for the 100th running, the race will follow the original 1925 route and span 204 nautical miles. From the starting point, the boats will head north along the Michigan shoreline, passing south of Bois Blanc Island, sailing west to east at the finish line between Round Island and Mackinac Island, organizers said.

The range of boats are expected to finish in between 30 and 60 hours.

The sailors

Teams at all skill levels have entered the race, which draws competitors from around the world. The highly skilled racers know they will cross the bow of competitors within inches. Still, there's always risk of a crash with the slightest miscalculation.

"Everybody recognizes this is super intense," said champion sailor Tim Prophit , 65, of St. Clair Shores, past commodore of Bayview Yacht Club and owner of Fast Tango, a North American 40 sailboat.

The teams are vying for trophies and flags to show their accomplishments.

The J.L. Hudson Trophy is awarded to the boat with the best corrected time in Division I, and the Canadian Club Classic Trophy is awarded to the boat with the best corrected time in Division II.

How can spectators follow the race?

Spectators can go to bycmack.com during the race and click on “RaceTracking” link to watch real-time GPS positioning of all the race boats, or, on your mobile device, download the free app YB Races and select the current race.

Boats will start arriving at Mackinac Island on Sunday afternoon and continue until Monday evening, all dependent upon the wind.

Finishes can be seen from Windermere Point on Mackinac Island at the south end of Main Street.

Sailors who have completed 25 Bayview Mackinac races are called “Old Goats,” according to the club, while those who have completed 50 are called “Grand Rams.”

"Double Goats" are sailors who have completed 25 Bayview Mackinac races and 25 Chicago Yacht Club race to Mackinac races. This year’s Chicago to Mackinac race encountered strong winds in Lake Michigan , snapping some boats’ masts and tossing one sailor overboard. No one was hurt.

Volunteers who have served for 15 years on the Race Committee are honored with the title “Old Forts,” as designated by the Race Committee.

This story includes material from a staff report by former Free Press reporter Phoebe Wall Howard and from the Bayview Yacht Club.

Sailing & Seamanship Movies

1. 180° South

3. Turning Tide

4. Waterworld

Gregory Peck and Virginia Mayo in Captain Horatio Hornblower (1951)

5. Captain Horatio Hornblower

Spencer Tracy, Lionel Barrymore, and Freddie Bartholomew in Captains Courageous (1937)

6. Captains Courageous

7. White Squall

8. Dead Calm

Russell Crowe in Master and Commander: The Far Side of the World (2003)

9. Master and Commander: The Far Side of the World

Mel Gibson, Anthony Hopkins, and Tevaite Vernette in The Bounty (1984)

10. The Bounty

Kurt Russell, Martin Short, Mary Kay Place, Benjamin Salisbury, and Meadow Sisto in Captain Ron (1992)

11. Captain Ron

Humphrey Bogart and Katharine Hepburn in The African Queen (1951)

12. The African Queen

Anthony Quinn and James Coburn in A High Wind in Jamaica (1965)

13. A High Wind in Jamaica

Oliver Hardy and Stan Laurel in Utopia (1950)

15. Against All Flags

16. Knife in the Water

Jenny Agutter, Michael York, Wolf Kahler, and Simon MacCorkindale in The Riddle of the Sands (1979)

17. The Riddle of the Sands

18. The Perfect Storm

19. Mutiny on the Bounty

Gene Tierney, Spencer Tracy, Van Johnson, Dawn Addams, and Leo Genn in Plymouth Adventure (1952)

20. Plymouth Adventure

21. Robinson Crusoe

Louis Hayward and Patricia Medina in Fortunes of Captain Blood (1950)

22. Fortunes of Captain Blood

23. Morning Light

24. Captain James Cook

Maureen O'Hara and Tyrone Power in The Black Swan (1942)

25. The Black Swan

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'Love Island USA' complete guide: How to watch, finale date, must-know terminology

Have your friends or TikTok For You page convinced you to watch the 2024 season of " Love Island USA ," but you don't know how or where to start?

We know it can be daunting hopping on the bandwagon for a show that's already aired six seasons and more than 100 episodes , but you've come to the right place.

If this is the first you've heard of the Peacock dating show, it might be because "Love Island USA" recently reached new heights in its viewership two years after the streaming service acquired the series from Paramount+.

Here's USA TODAY's guide to all things "Love Island USA," and everything you need to know before stepping into the villa.

What happens on 'Love Island'?

The wildly popular "Love Island" franchise originated in the U.K. in 2015, and the British series' 11th season (which can be found on Hulu in the U.S.) is currently airing.

Need a break? Play the USA TODAY Daily Crossword Puzzle.

The show's concept is similar to many reality dating shows in that cast members live together while far removed from their friends and family and without access to their cell phones as they search for romance with fellow castmates. With more than 80 cameras strategically placed throughout the villa (including inside the bedroom and bathroom) and microphones picking up every word, "Love Island" captures every dramatic – or intimate – moment.

Unlike most reality shows, however, "Love Island" airs in almost real time.

Islanders spend their days gossiping, working out, playing games and participating in the show's challenges. And in most cases, everyone must be coupled up to stay on the show.

Throughout the season, new cast members – aka "bombshells" – enter the villa and test the bonds of existing relationships. Every few days, an islander (or several) is "dumped" following a vote whose format changes each time.

At the end, only a few couples will remain and viewers are tasked with voting for their favorite pair to win the cash prize.

Where can you watch 'Love Island USA'?

"Love Island USA" is exclusively on Peacock.

Seasons 4 and 5 are also available on Peacock, if you dare. Seasons 1-3 are streaming on Paramount+.

How to watch 'Love Island USA' Season 6

Peacock releases new "Love Island USA" episodes "every day but hump day." Tune in to the drama starting at 6 p.m. PT/9 p.m. ET.

There's no new activity from the villa on Saturdays; instead, "Aftersun" host Maura Higgins (of "Love Island" U.K. Season 5) talks to the show's main host Ariana Madix, recently dumped cast members, famous alumni and other guest stars about the latest developments.

Sometimes, she shares new "Love Island" footage that didn't make the final edit and introduces bombshells that will be entering the villa.

Across the pond: How to watch 'Love Island UK' Season 11 in the US

When does 'Love Island USA' Season 6 end?

The "Love Island USA" Season 6 finale drops Sunday, July 21.

How many episodes of 'Love Island USA' are there?

The July 21 finale will be Season 6's 36th episode.

'Love Island USA' voting

Want to have your say on who stays and who goes, as well as which couple wins it all? There's an app for that.

The "Love Island USA" app is available for download on Google Play and Apple App Store .

Viral 'Love Island' cast photos — and when cosmetic treatments actually age you

What is Casa Amor on 'Love Island'?

Just as the islanders start getting comfortable each season, the show's producers turn up the heat by doubling the number of eligible cast members.

The men and women are often separated by the powers that be through some covert method, and it's soon revealed that they'll be living in separate villas for several days as they get to know a completely new group of men and women. This is when, as the islanders like to say, relationships are tested.

In Season 6, for the first time, the producers made an offer to the men that ended up being a twist of a knife for their other halves: They had the option to stay in the "Love Island" villa or go to Casa Amor.

To no one's surprise, all six guys − Kordell, Miguel, Rob, Kendall, Kenny and Aaron − headed to the new villa and met six new women. After a few days of separation, the original cast reunites to reveal who stayed true to their partners and who re-coupled.

What is movie night on 'Love Island'?

Amid all the games and challenges the islanders partake in, "movie night" is one of the most dramatic.

The producers sit everyone down sometime after the Casa Amor drama starts simmering so the cast can see and hear exactly what everyone's been saying behind their backs all season.

An islander might witness a friend talk trash about them, or they might see their partner being intimate with another person during Casa Amor. "Movie night" shows these blissfully ignorant reality stars exactly what viewers have been tuning in to for weeks.

What does 'soul ties is crazy' mean?

In Season 5, "soul ties" went from being the words on one of the numerous neon signs scattered across the villa to emerging as what might be "Love Island USA's" first catchphrase, courtesy of day one contestant Kay Kay Gray : " Soul ties is crazy " (emphasis on the "ay-zee").

The "soul ties" neon sign was located somewhere islanders could connect away from prying eyes (but not HD cameras, of course). The trade-off? Cast members could hear conversations from below.

From break-ups to hooking up with other partners, wild things would happen when islanders went up to "soul ties." With its reputation solidified as a place where dramatic events occurred, "soul ties is crazy" emerged. With the neon sign's reappearance in Season 6, the latest cast has been keeping Kay Kay's legacy alive.

Why is 'Love Island USA' suddenly so popular?

Season 6 of "Love Island USA" had twice the reach of previous seasons, becoming Peacock's "most-watched and most-talked about series by minutes watched and volume of social conversation," according to a July 11 press release.

The sudden interest could be due to new host Ariana Madix , who's coming off a massive year thanks to " Scandoval ," "Dancing with the Stars" and her Broadway debut. But the main reason is likely the can't-look-away drama and constant plot twists delivered by the Season 6 cast, sparking heated online debate about who's being genuine and who's faking their way to the finale.

"The phrase we’ve been using to describe this season is 'perfect storm,'" Simon Thomas, an executive producer on the series, recently explained to Rolling Stone . "It’s hard to describe one element of the show as the single thing that’s driven this forward. Everything has been firing all at once, which is like magic. "

Who was on 'Love Island USA' 2024?

Nearly three dozen islanders walked through the villa doors on Season 6.

Kaylor Martin
Serena Page
Hannah Smith
Kendall Washington
Coye Simmons
Aaron Evans
Robert Rausch
Kordell Beckham
Hakeem White
Connor Newsum
Olivia Walker
Nicole Jacky
Andrea Carmona
Miguel Harichi
Kenny Rodriguez
Cassidy Laudano
Nigel Okafor
George Vining
Jacobi Graham
Caine Bacon
Jalen Oliver
Ignacio Ferrari
Josiah Roebuck
Sierra Mills
Destiny Herzog
Daia McGhee
Catherine Marshall
Daniela Noelle Ortiz-Rivera
Sydney Leigh Leighton
Harrison Hans Luna
Kassy Castillo

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‘Love Island USA’ Season 6 Crowns Winners On Peacock

By Armando Tinoco

Armando Tinoco

Night & Weekend Editor

‘Love Island USA’ Season 6 Photos: All Of Ariana Madix’s Bombshell Villa Looks

‘Love Island USA’ Heats Up With Season 6 As Streaming Viewership Doubles

RELATED: How To Watch ‘Love Island USA’ Season 6 Finale Winner Revealed: Is It Livestreaming?

Madix finally revealed the results of America’s vote, and this is how the couples placed:

4th place : Nicole Jacky and Kendall Washington.

3rd place: JaNa Craig and Kenny Rodriguez.

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Before announcing the winner, Madix said, “We have followed every step of your relationships over the last six weeks. And now the waiting is finally over.”

2nd place: Leah Katen and Miguel Harichi.

1st place: Serena Page and Kordell Beckham.

After the winning couple was crowned, they had one last test. The couple were given two envelopes, one containing the $100,000 cash prize and the other containing nothing. The Islander with the cash prize can keep the money for themselves or share it with their partner.

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Kordell gave Serena the honor of picking first, and when she opened it, she got the envelope with nothing. Kordell had the envelope with the cash prize and opted to split the money with Serena, each winning $50,000.

“Me and Serena have been through a whole lot,” Kordell said. “I couldn’t ask for a better experience than to be in this villa with her. It’s only right…. I’m going to split that dough.”

Ahead of the finale, Madix made an appearance on Love Island USA Aftersun to share her thoughts on what was ahead.

“It’s bittersweet,” Madix said of Love Island USA ending.

However, the host said the final four was “perfect,” adding, “It is my final four. Like if I was looking at everybody coming up towards the finale… this is the right final four and that’s no shade to anyone else. This feels right.”

Madix noted that it “has been turbulent” for the couples but knows that “they’ll all be happy for each other no matter the outcome, and I feel like that’s so nice.”

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COMMENTS

The Island (2005)
The Island: Directed by Michael Bay. With Ewan McGregor, Scarlett Johansson, Djimon Hounsou, Sean Bean. A man living in a futuristic sterile colony begins to question his circumscribed existence when his friend is chosen to go to the Island, the last uncontaminated place on earth.
The Island (2005)
The Island begins with a montage of dream scene sequences, and a resonant male voice saying "You're special. You have a very special purpose in life. You've been chosen. The Island awaits you." Lincoln Six Echo (Ewan McGregor) snaps awake from his dream. An LED display above him on the ceiling of his room announces the detection of an erratic ...
The Island (2005 film)
The Island is a 2005 American science fiction action thriller film directed and co-produced by Michael Bay and written by Caspian Tredwell-Owen, Alex Kurtzman and Roberto Orci, from a story by Tredwell-Owen.It stars Ewan McGregor, Scarlett Johansson, Djimon Hounsou, Sean Bean, Michael Clarke Duncan, and Steve Buscemi.The film is about Lincoln Six Echo (McGregor), who struggles to fit into the ...
The Island (2005)
The Island is a 2005 American science fiction-action film directed by Michael Bay, starring Ewan McGregor and Scarlett Johansson. It was released on July 22, 2005 in the United States, and was nominated for three awards, including the Teen Choice Award. It is described as a pastiche of "escape-from-dystopia" science fiction films of the 1960s ...
The Cinema Within: spectacle, labour and utopia in Michael Bay's The Island
Brian Baker is Lecturer in English at Lancaster University, UK. He is the author of Masculinities in Fiction and Film (Continuum, 2006) and Iain Sinclair (Manchester, 2007). He has recently published the Reader's Guide to Essential Criticism in Science Fiction (Palgrave Macmillan, 2014) and Contemporary Masculinities in Fiction, Film and Television (Bloomsbury Academic, 2015).
Everything You Need to Know About The Island Movie (2005)
The Island on DVD December 13, 2005 starring Ewan McGregor, Scarlett Johansson, Djimon Hounsou, Michael Clarke Duncan. Lincoln Six-Echo (Ewan McGregor) is a resident of a seemingly utopian but contained facility in the mid-21st century. Like all of the inhabi.
50 Things We Learned from Michael Bay's 'The Island' Commentary
2. The opening landscapes were filmed off New Zealand while the boat scenes were shot near Italy. 3. That's a real boat called the Wally Power. It came from Italy and cost the owner $25 million ...
The Island (2005)
The Island. (at around 1h 13 mins) The black and white commercial featuring Sarah Jordan wasn't shot specifically for the movie; it is an actual commercial starring Scarlett Johansson. Robert S. Fiveson, director of The Clonus Horror (1979), brought a copyright infringement suit against DreamWorks and Warner Brothers.
Wally Yachts
Wally is known for being a pioneer of carbon fiber as a yacht-building material. [citation needed] On 31 January 2019 Ferretti Group acquired Wally Yachts. In film. In 2005, the 118 WallyPower featured in the film The Island, starring Ewan McGregor. The yacht appeared as a distant memory in the mind of McGregor's character.
The power yacht at the end of The Island
Hello guys, I am new to the forum, and desperatly trying to find the designer name of the yacht that you see at the end of the movie The Island. For those who didn't see it, but might have an idea, here is a (vague) description: must be aprroximately 120/150 feet, dark green body, looks very very futurist, dark (black smoked glass) cabin, and ...
The Island
The Island is a 2005 American science fiction thriller film directed by Michael Bay and starring Ewan McGregor and Scarlett Johansson. On July 19, 2019, Lincoln Six Echo and Jordan Two Delta live with others in an isolated compound. This dystopian community is governed by a strict set of rules. The residents are told that the outside world has become too contaminated to support life with the ...
The Island streaming: where to watch movie online?
Synopsis. David Nau leads a band of modern day pirates who raid yachts and sail boats of people on vacation in the Caribbean. When reporter Blair Maynard and his son arrive to investigate the mystery of the disappearing boats, Nau and his band of raiders decide to induct them into their tribe.
The Island
The Island. A journalist travels with his son to a Caribbean island to investigate the mysterious disappearance of many boats and yachts. There they are attacked by a group of savage band of raiders who decide to induct them into their tribe. Adventure 1980 1 hr 54 min. 33%.
The 10 Most Memorable Yachts in Movies
1. Usher, Entourage (2015) Usher, also known as Mr. Terrible, is the 47 meter superyacht in the 2015 movie Entourage. On screen, it symbolizes the decadent lifestyle of main character Vincent Chase, played by actor Adrian Grenier. This yacht was fitting for the movie, as it really is as lavish as it looks.
Best Boating Movies: 39 Top Sailing & Yachting Films To Watch
To sum up the movie, a lucky (or unlucky, perhaps) man inherits an old yacht and takes his family to a Caribbean Island where he hires Captain Ron, whose unusual approach rather takes him by surprise. Together, they sail on to Miami. As of 2022 the film is available on streaming platforms such as Roku, Prime Video and Apple TV.
The Beach (film)
The Beach is a 2000 adventure drama film directed by Danny Boyle, from a screenplay by John Hodge, based on the 1996 novel of the same name by Alex Garland.The film stars Leonardo DiCaprio, Tilda Swinton, Virginie Ledoyen, Guillaume Canet, and Robert Carlyle.It was filmed on the Thai island of Ko Phi Phi Le.. The film was released on 11 February 2000, by 20th Century Fox.
Boats on film: The most memorable superyachts from Hollywood movies
In 1948, 31-metre schooner The Ryelands, built in 1886 by Nicholson & Marsh at Glasson Dock in Lancaster, was bought by RKO Pictures and played the part of Hispaniola in Treasure Island (1950). Six years later she was sold to Elstree Studios and used as the whaling ship Pequod in Moby Dick (1959) before becoming a floating museum in Morecambe, Lancashire, where she was destroyed by fire in the ...
Minnesota Yacht Club Festival
Minnesota Yacht Club Festival Harriet Island was transformed into a house of music Friday and Saturday, attracting an estimated 60,000 enthusiastic rock 'n roll fans.
Day 1 of Minnesota Yacht Club: Festival draws crowd of 34,000
It was smooth sailing for opening of Minnesota Yacht Club, the new music festival in St. Paul At the first big music fest on Harriet Island since 2012, fans enjoyed the setup and '90s sounds.
Couple found dead on Atlantic's 'Graveyard Island' while ...
June 11: The couple set sail from Halifax, Nova Scotia in Canada on their 42ft wind and solar-powered yacht named Theros. June 13: Brett's Garmin GPS device pings a final signal around 40 miles ...
Crews work to transform Harriet Island for Minnesota Yacht Club
St. Paul's Harriet Island transforming ahead of Yacht Club Festival 02:04. ST. PAUL, Minn. — From major floods to a major festival — work is underway to transform St. Paul's Harriet Island ...
Love Island USA Season 1: Are Zac & Elizabeth Still Together? (2023)
Elizabeth's a model and influencer, and she's leveraging her Love Island USA season 1 fame.When she isn't, "making my @chanelofficial dreams come true," as per the recent post above, she's using her star power to promote brands, such as Fré Skincare and Auberge Resorts. She seems to have moved on from her split, which happened years ago, but she's not flaunting a new love interest online.
100th sailboat race from Port Huron to Mackinac Island starts Saturday
Billed on its website as the "world's longest continuously run long-distance freshwater yacht race," the 100th Bayview Mackinac Race is set to start Saturday.. A record-setting 334 boats ...
Sailing & Seamanship Movies
The film follows adventurer Jeff Johnson as he retraces the epic 1968 journey of his heroes Yvon Chouinard and Doug Tompkins to Patagonia. ... Stan inherits a yacht and a South Pacific island. Ollie and Stan sail there with 2 other men. They shipwreck on a new atoll and settle there. An ex-fiancee joins them.
Media Spotlight Shines On Kamala Harris In First Appearance ...
Kamala Harris, in her first appearance since Joe Biden dropped out of the presidential race and endorsed her, praised him as a commander in chief who in one term "has already surpassed the legacy ...
The Boat (2022 film)
Plot. Three young wealthy couples decide to spend an unforgettable weekend on a luxury yacht in the Mediterranean Sea. However, the long-awaited cruise quickly turns into a real nightmare for them. After the party, the passengers wake up in the middle of the open sea—just to find out that the fuel, food, life raft, and water have mysteriously ...
Couple found dead in lifeboat after failed Atlantic crossing
A British-Canadian couple who were attempting to sail across the Atlantic have been found dead on an island off the east coast of Canada.. Brett Clibbery, 70, and his wife, Sarah Packwood, 60, had ...
'Love Island USA' guide: How to watch, 2024 finale date
Peacock releases new "Love Island USA" episodes "every day but hump day." Tune in to the drama starting at 6 p.m. PT/9 p.m. ET. There's no new activity from the villa on Saturdays; instead ...
'Love Island USA' Season 6 Crowns Winners On Peacock
SPOILER ALERT: This post contains details of the Love Island USA Season 6 finale from Sunday, July 21.. Four couples remained on Love Island USA, but only one would be crowned the winner. Ahead of ...
'Love Island USA' Leads Luminate Streaming Ratings
"Love Island USA" has hit its stride. Season 6 of the Peacock reality dating show was the No. 1 most-watched streaming original series in the U.S. during the week of July 5-11, hitting 919.1 ...

The Island (2005)

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The 10 Most Memorable Yachts in Movies

1. Usher, Entourage (2015)

2. Northern Cross aka Manticore, Goldeneye (1995)

3. R Rendezvous aka Left Hand, Donnie Brasco (1997)

4. Attessa, Overboard (1987)

5. Kingdom 3KR aka Flying Saucer, Never Say Never Again (1983)

6. Lady M aka Naomi, The Wolf of Wall Street (2013)

7. Helios 2 aka Anson Bell, Syriana (2005)

8. M3 aka Soufriere, Casino Royale (2006)

9. Wallpower 188 aka Renovatio, The Island (2005)

10. White Knight, The Bourne Identity (2002)

Written by Garrett Parker

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