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No need for a trunk-sized battery that costs $20,000 to make and takes hours to recharge. [LOGO OST]( At times, our affiliate partners reach out to the Editors at Open Source Trades with special opportunities for our readers. The message below is one we think you should take a close, serious look at.   It has been more than two years since the end of season two of this Star Wars spinoff with Pedro Pascal mostly hidden under a helmet as the bounty hunter Din Djarin. Since then we've gotten used to seeing Pascal's face on The Last of Us, but now he is back in the helmet and reunited with his little green sidekick, Grogu, earlier known as The Child or Baby Yoda. Their new adventures have them traveling back to Mandalore so Din can atone for having violated the rules by showing Grogu his face. Giancarlo Esposito returns as the villainous Moff Gideon, along with Carl Weathers and Amy Sedaris. Will we actually see more of Pascal? And, as Slash Film wondered, “How Does Grogu Keep Getting Cuter?” The Mandalorian premieres on 1 March on Disney+ internationally (Credit: Amazon Prime Video) (Credit: Amazon Prime Video) 2. Daisy Jones & the Six Music, personal crises, showbiz drama and sexual tension are the volatile ingredients in this fictional story of a 1970s rock group fronted by the talented Daisy Jones (Riley Keough) and charismatic Billy Dunne (Sam Claflin), and loosely inspired by Fleetwood Mac. The frame of a contemporary documentary about the band's spectacular success and sudden breakup allows the characters to rehash the past and the series to flash back to the early days, where there is a love triangle and lots of shaggy '70s hair. Based on Taylor Jenkins Reid's bestselling novel, the high-profile series has original music written by Blake Mills, with contributions from Phoebe Bridgers, Marcus Mumford and others, and has spawned a real-life album featuring the cast. Daisy Jones & the Six premieres on 3 March on Prime Video internationally (Credit: Hulu) (Credit: Hulu) 3. History of the World, Part II Four decades after his film History of the World, Part I, Mel Brooks, now 96, returns as writer and narrator with a series of short sketches that offer the same loopy, inaccurate depictions of high points in history. Nick Kroll, Wanda Sykes and Ike Barinholtz all do double duty as actors and writers, along with a sprawling, generation-spanning cast including Jack Black, Danny DeVito, Zazie Beetz and Quinta Brunson. Hulu has insisted on secrecy about some of the historical figures, but there's plenty to see in the trailer, including Taika Waititi as Sigmund, making a Freudian slip, Seth Rogen as Noah, of Ark fame, and Sykes, whose character confronts Civil War soldiers who think they recognise her. “Harriet Tubman. Inventor of the bathtub?” Brooks' brand of silliness never gets old. History of the World Part II premieres on 6 March on Hulu in the US (Credit: Apple TV+) (Credit: Apple TV+) 4. Ted Lasso If you've heard rumours that this third season of the Emmy-winning show will be its last, relax. Bill Lawrence, one of the creators of the series about an endearing, often clueless American coach and his struggling Premier League football club, hasn't entirely ruled out more. “The story the writing staff has been telling had a beginning, middle and end for the first three seasons. And then it might veer off from that,” he has said. A few things lingering from last season need some answers. How will Ted (Jason Sudeikis) deal with his panic attacks and emotional health? What about team owner Rebecca's (Hannah Waddingham) love life now that she has split from the charming Sam (Toheeb Jimoh)? (Big mistake if you ask me, but some fans are rooting for her and Ted.) How will they all deal with Nate's (Nick Mohammed) betrayal, since the put-upon assistant has angrily become coach of a rival club? Ted Lasso premieres on 15 March on Apple TV+ internationally (Credit: Apple TV+) (Credit: Apple TV+) 5. Extrapolations A climate change warning wrapped in entertainment has been a tough sell on screen. Adam McKay's A lister-filled Don't Look Up with Leonardo DiCaprio, Jennifer Lawrence, and Cate Blanchett comes to mind as one of the more prominent examples. Now writer and director Scott Z Burns, writer of the tense and prescient plague-warning film Contagion, tries to master the challenge, recruiting a wealth of stars of his own who move in and out of eight connected episodes. Meryl Streep, Kit Harington, Yara Shahidi, Edward Norton, Daveed Diggs, Matthew Rhys, Keri Russell, Marion Cotillard and Judd Hirsch are just a sampling of the actors in a drama with multiple personal storylines, set in a recognisable near future in which the air is toxic and today's warnings about the effects of climate change have come true. It's not a bad strategy: come for the stars, stay for the worst-case scenario. Extrapolations premieres on 17 March on Apple TV+ internationally (Credit: AMC) (Credit: AMC) 6. Lucky Hank Bob Odenkirk returns in his first show since Better Call Saul as Hank, the chairman of an English department at a last-choice college in Pennsylvania. He is in the midst of a mid-life crisis and also has an unfortunate tendency to put his foot in his mouth. He tells a student who suggests that he's a failure, “The fact that you're here means that you show very little promise” and calls the college “mediocrity capital”, comments that set off a commotion. The story is updated from Richard Russo's 1997 satiric campus novel, Straight Man, and Hank is no more likely to thrive in the viral age. Mireille Enos (The Killing) stars as his unhappy wife. The blend of comedy and drama evokes Odenkirk's last, already-classic series. Lucky Hank premieres on 19 March on AMC and AMC+ in the US (Credit: HBO/Sky) (Credit: HBO/Sky) 7. Succession The King Lear echoes are stronger than ever in season four of the show that continues to fascinate us with the manoeuvres of the media mogul Logan Roy (Brian Cox) and his greedy, scheming children. The father-children rupture was stark when we last saw them, with Logan outsmarting his would-be heirs again with plans to sell the company to Lukas Matsson (Alexander Skarsgard returns), who is pretty wily himself. "This is not about getting back at Dad," Shiv (Sarah Snook) tells her brothers Kendall (Jeremy Strong) and Roman (Kieran Culkin) in the new trailer. "But if it hurts him it doesn't bother me." All the Roys are wicked. That's apparently what we like about them. Jesse Armstrong, the show's creator, has said this season will be its last. He hasn't promised to reveal which, if any, of those serpent-toothed children will take over the media throne. Succession premieres on 26 March on HBO and HBO Max in the US and 27 March on Sky Atlantic in the UK (Credit: BBC) (Credit: BBC) 8. Great Expectations Steven Knight, creator of gritty series including Peaky Blinders and Rogue Heroes, also has a soft spot for Dickens. Knight wrote a dark adaptation of A Christmas Carol (2019) and now takes on another classic. Faithful to the 19th-Century setting and colourful Dickensian characters, the series has the advantage of Olivia Colman, reason enough to watch, as the haunting Miss Havisham, left at the altar and ever since determined to live among cobwebs and memories while vowing revenge against all men. Fionn Whitehead, recently seen in another period piece as Branwell Bronte in the film Emily, is the adult Pip, in love with the cold-hearted Estella (Shalom Brune-Franklin). As a poor boy on the marsh (played by Tom Sweet), he never imagines the inheritance that will change his life. Great Expectations premieres on 26 March on Hulu in the US and this spring on BBC One and BBC iPlayer in the UK (Credit: Showtime) (Credit: Showtime) 9. Yellowjackets The surprise hit that is like "Extreme Mean Girls" returns for its second season, continuing with its split timeline. In the past, we see more of the high school girls' soccer team whose plane crashed in the wilderness, leading to rivalries and cult rituals. In the present day, those survivors are still dealing with the aftermath. Melanie Lynskey returns as the adult Shauna, struggling with her marriage, along with Juliette Lewis, Tawny Cypress and Christina Ricci as the lethal Misty, the most diabolical of the group, as least so far. “I would imagine it gets more insane,” Ricci has said, teasing the next season, which is likely to reveal more dark secrets. Lauren Ambrose joins the cast as the adult Van, and Elijah Wood is a citizen detective, just like Misty. Yellowjackets premieres on 26 March on Showtime in the US (Credit: Apple TV+) (Credit: Apple TV+) 10. The Big Door Prize Chris O'Dowd plays Dusty, a high school teacher and a sympathetic, often hapless everyman – a type he excels at – in this comic drama set in a very small town in the US, where a mysterious machine called Morphos spits out cards telling people what their true potential is, like royalty, magician or liar. Based on a novel by MO Walsh, the series was created by David West Read, a producer on Schitt's Creek. It shares some of that series' small-town intimacy, along with a more dramatic streak. Everyone from the local priest to Dusty's wife and teenage daughter question their futures, wondering if Morphos is a fraud, just an AI run amok, or truly a message from destiny. The Big Door Prize premieres on 29 March on Apple TV+ internationally (Credit: Amazon Prime Video) (Credit: Amazon Prime Video) 11. The Power Girl Power takes on a whole new meaning in this series based on Naomi Alderman's 2016 novel, in which teenage girls everywhere suddenly find they can electrocute people with jolts from their fingers. The ability soon extends to women of all ages, changing power dynamics around the globe. Toni Collette stars as the Mayor of Seattle, Washington, with John Leguizamo as her husband and Auli'i Cravalho as their newly empowered daughter. Other settings include the UK, Nigeria and Eastern Europe. Alderman has said her book asks whether the world would be more peaceful or not if women were in charge. Whatever happens on screen, off screen women are definitely in control. All the writers, including Alderman, and directors are women too. The Power premieres on 31 March on Prime Video internationally The Apple TV+ series is the latest screen hit to use a dead family member or romantic partner as a narrative driver for its male hero. When will this crass trope end, asks Ralph Jones. S Some things never change. When Shrinking, Ted Lasso creator Bill Lawrence's new comedy drama starring Jason Segel, launched on Apple TV+ in January, it was immediately apparent that the show was guilty of one of the most quietly toxic tropes in entertainment: from the off, Segel's therapist character Jimmy was defined by the loss of his wife, beautiful in death and only ever available in flashback form. Tia is deprived of any agency: we know that her narrative purpose is solely to die, and her existence is only important insofar as it affects our brave male protagonist. Warning: this article contains plot spoilers for 65 and No Time to Die More like this: – Is the romcom truly back? – The brutal new female screen icons – Why John Wick 4 soars above most action films The temptation to give male characters female relatives or love interests who are either already dead or dying as a plot driver is seemingly irresistible for countless writers, the vast majority of whom are male. Once you are aware of this phenomenon, you realise how pervasive it is. I am currently reading a novel narrated by a man grieving over a woman we never meet before her death; while researching this feature, I saw the new Adam Driver film 65, in which Driver's character crash-lands on Earth 65 million years ago. The reason he is in his spaceship in the first place is, lo and behold, because he has a terminally ill daughter who – spoiler alert – dies during the film. New Adam Driver film 65 is another example of a work in which the death of a female character (in this case his daughter) is used as an empty plot device (Credit: Alamy) New Adam Driver film 65 is another example of a work in which the death of a female character (in this case his daughter) is used as an empty plot device (Credit: Alamy) Why do male writers in TV, film and literature continue to engage in this trope? What does it tell us about the gender dynamics in fiction? And is there any hope on the horizon that it may be consigned to the creative dustbin? Izzie Austin is a film writer doing a PhD that examines revenge in teen movies at Swinburne University, Australia. Before refining their subject, for a while they were looking into revenge films more generally and have therefore had to sit through a great many works that are guilty of indulging this sexist phenomenon, commonly known as "fridging". "There are so many films where they just introduce a wife in one scene and then kill her immediately," they say, citing the infamous Death Wish franchise, in which Charles Bronson becomes a vigilante after his wife is murdered, as particularly egregious. "It's insulting to the female characters because their only function is how they make other characters feel and then it's insulting to the male characters because they don't actually get to feel anything new." The origins of "fridging" It was in 1999 that comic-book writer Gail Simone first gave a name to the trope, coining the term "Women in Refrigerators syndrome" to refer to a trend she noticed in superhero stories for female characters being killed off to provide motivation for the male protagonists. The turn of phrase was inspired by a 1994 Green Lantern story, in which the Green Lantern discovers that his girlfriend has been killed and stuffed into a fridge and, as Austin puts it, "Dead wife make man sad; man process sad by doing violence". If this trope has only been given a name in the last few decades, it has been conspicuous through the whole history of storytelling. "These are narratives that extend way way back," says Dr Miriam Kent, lecturer in film and media at the University of Leeds and author of Women in Marvel Films. A fairy tale like Sleeping Beauty, which dates back to the 16th Century, involves a comatose princess who must be rescued by a prince. These notions of female sublimation and male agency have always pervaded Western literature, and, in recent centuries, TV and film. In the 1970s, literature professor Joseph Campbell's seminal book The Hero's Journey set out the structure for a classic "quest narrative" which "generally involved a masculine hero and a princess", says Kent, and his storytelling theory went on to inform films like Star Wars. "The idea is that these are structures that are so ingrained within Western cultures and Western societies that they're almost unconscious," she says. The trope annoys me to the brink of rage, firstly because it's dreadfully boring, and secondly because it cannot be divorced from the greater context in which violence against women is endemic – Kristin Devine So unconscious are they, in fact, that many Hollywood writers are unaware of deploying them. After 2018's Deadpool 2 attracted criticism for having Deadpool's girlfriend Vanessa murdered at the beginning of the film – an example of "fridging" made worse by the fact that Deadpool's appeal is that he is aware of the comic-book world in which he exists – one of the writers, Rhett Reese, said that he didn't know the word existed. Reese and writing partner Paul Wernick declined the invitation to be interviewed for this piece. (Fans were so incensed by Vanessa's death during test screenings, incidentally, that an alternate ending was shot, and added post-credits, in which Deadpool travels back in time and saves her.) Deadpool 2 was heavily criticised for "fridging" the character of Deadpool's girlfriend Vanessa (played by Morenna Baccarin) (Credit: Alamy) Deadpool 2 was heavily criticised for "fridging" the character of Deadpool's girlfriend Vanessa (played by Morenna Baccarin) (Credit: Alamy) Scott Beck and Bryan Woods, who wrote and directed 65, were similarly oblivious to the trope. "The attempt was to do a modern-day silent film with hardly any dialogue so we're not reliant on exposition and back story," Woods tells BBC Culture, by way of explaining their narrative choice with the death of the protagonist's daughter. "The exercise was one of minimalism and attempting to tell a story where you could push the mute button and it plays the same in any part of the world and it can be digestible. So we're painting in pretty broad strokes with this film." "Broad strokes" is right. "I’m not sure if it's lazy necessarily but I do think there is something to be said about the way in which screenwriters are trained," says Kent. "A lot of the time they will be trained by industry professionals, who will also be men working within that particular culture." Kristin Devine is a writer and fertility coach who finds fridging so frustrating that she wrote a short story subverting it, in which a woman actually gains superpowers from being stuck in a fridge. The idea derived from her anger at encountering the unreconstructed trope so often: "It annoys me at times to the brink of rage, firstly because it's dreadfully boring and I hate being bored, and secondly because it cannot be divorced from the greater context in which violence against women is endemic. Being fed a steady fictional diet of women-as-disposable-victim, in a world already full of it, inures all of us to the reality of sex-based violence." What critics of the practice are not saying is that male characters shouldn't be widowers. "The death of a loved one is a strong motivating factor for people," says Devine. "Uncle Ben's death in Spiderman. Obi Wan's death in Star Wars. But these characters weren't created only to die – they had important lessons to impart and tasks to fulfil before they did. They needed to exist as fundamental to the story, and their lives mattered far beyond their demise." Subverting the cliché She and Austin both cite the original John Wick film as an example of how featuring a deceased female partner or family member may be done in a way that doesn't feel exploitative. Though the 2014 Keanu Reeves action vehicle falls into the trap of soft-focus beach flashbacks, John Wick's late wife Helen is a more richly drawn character than most equivalents; and while it may be a revenge thriller, the inciting incident in the film is that Wick's dog, a gift from Helen before her death from a terminal illness, is killed, "So you don’t meet the wife [in the present tense]," says Austin, "but you feel her character through her understanding that her husband is going to need somewhere to put his energy." Similarly, we never meet the dead wife of Robin Williams's psychologist Sean Maguire in Good Will Hunting but her and Maguire's relationship comes alive on-screen through Maguire's words. "[That film offers] a much more honest acknowledgment of: people have partners; their partners were special to them and now they're gone; how do you continue after this point?" says Austin. Shrinking's success proves that audiences can overlook "fridging". But at the same time the groundswell of opinion against it is rising Austin also cites the 2015 video game Fallout 4 as an example of a work undercutting the trope: the game allows the player to choose to be either a female or a male character whose spouse is killed and whose son is kidnapped. The gameplay isn't perfect – Austin points out that the creators may not have realised that a woman and a man might not respond to the situation in the same way – but it signals that creators might be getting savvy to avoiding this misogynistic cliché. In a twist on the formula, No Time to Die killed off Bond himself, not his female companion Madeleine Swann (Credit: Alamy) In a twist on the formula, No Time to Die killed off Bond himself, not his female companion Madeleine Swann (Credit: Alamy) Other rays of hope have appeared in the gradually shifting gender dynamics of superhero adaptations – a form so commercially enormous that it may be capable of changing the narrative. Vast corporations like Marvel and Disney "know that there are female audiences watching their content," says Kent, and are beginning to change their behaviour, whether cynically or otherwise, by creating more female heroes, like Wonder Woman and Captain Marvel, and less female victims. In the 2022 Disney+ series She-Hulk, the main character addresses the viewer and wonders whether the twist in the episode is that she might be fridged – though of course, she isn't. And, thinking of another blockbuster franchise, in the last Bond film No Time to Die, we see the death of 007, but not his love interest Madeleine Swann. "I think there's definitely been a shift in terms of popular discussions of these issues," says Kent. No one is pretending that fridging is a thing of the past. "The fact that it's still happening in a fairly straightforward way suggests that there's not been much movement," says Kent. Shrinking's success proves that audiences can easily overlook it. But at the same time the groundswell of opinion against it is rising: as Devine says, "fiction should inspire us to higher things," she says, "or help us explore realities that are uncomfortable. Fridging accomplishes neither purpose." Dear Reader, It has a code name within the walls of Apple’s Cupertino headquarters — “Project Titan.” Supposedly one of Steve Jobs’ final projects … a new electric vehicle (EV) that would do for the automotive world what the iPhone did for personal devices. Apple execs won’t acknowledge it in the press. But they’re hiring away designers and engineers from companies like Tesla and Lamborghini. And at the heart of Apple’s game-changing new EV, Charles Mizrahi believes you won’t find a traditional EV battery. Instead, THIS is the power plant you’ll see: [Glove]( The Last of Us finale review: A knotty, violent ending Share using Email Share on Twitter Share on Facebook Share on Linkedin (Image credit: Alamy) (Credit: Alamy) By Stephen Kelly 13th March 2023 A huge hit, the postapocalyptic HBO show's first series has finished off powerfully – by replicating the original video game's remarkable conclusion. Stephen Kelly gives his verdict. O One of the many reasons why the original The Last of Us is considered such a feat of video-game storytelling is because of its astonishing ending. Spoiler warning: this article contains plot spoilers for the final episode of The Last of Us Joel, having been told that the only way to create a vaccine is for Ellie to die, chooses to damn the world: blurring the line between heroic protector and selfish monster. Bella Ramsey, in an interview with Vogue, said that the finale is, "going to divide people massively – massively," and it will be fascinating to see how a new, broader audience reacts to an episode that is remarkably faithful to the source material. Although, as has often been the case with this adaptation, that leads to the show feeling like a squashed, bullet-pointed summary of what made the game so interesting. More like this: – 11 TV shows to watch this March – The clues in The Last of Us credits – The rise of the 'beautiful apocalypse' After last week's encounter with violent, paedophilic cannibal David, the finale picks up with Ellie in a pensive mood. It could be the anxiety of her and Joel having finally reached the deserted highways of Salt Lake City, the home of the Fireflies. Although it is more likely that, months on from the traumatic events of episode seven, she is still haunted both by what nearly happened, and what actually did happen. Ramsey plays these scenes well; quiet solemn, detached. It is a testament to how funny and likeable her Ellie is that seeing her like this feels so unnatural. Hence why it is such a relief when she suddenly bolts away from Joel in excitement, having spotted something miraculous: a giraffe in the post-apocalyptic wild. It is one of the video game's most poignant scenes: an unexpected moment of beauty amid the bleakness, and a reminder for Ellie that there is more to this world than monsters. On screen, the scene has been adapted almost verbatim, and yet doesn't quite prove as affecting as it once did. This is possibly because of this episode's rushed sense of pace, with the finale as a whole feeling more like a loose collection of big emotional moments rather than something that flows with rhythm. There is also the ostentatious blue-screen work, which can ironically leave certain moments feeling more artificial than when they're rendered entirely with pixels. Nonetheless, Ramsey and Pascal play it wonderfully. "You don't have to do this," says Joel, obviously moved by Ellie's child-like joy and reluctant to hand her over to the Fireflies. "After everything I've done," she says. "It can't be for nothing." Joel is a man transformed in this episode. It is said that to have children is to watch your heart walk around outside of your chest. Joel lost his heart many years ago, having been hollowed out by grief over the death of his daughter, and cursed to keep on living. Yet, as he confesses to Ellie, in a moment of newfound honesty, he has finally found something to live for. He has opened himself up to the idea of love again, to being a father again. Pascal, who made his name as the sensual Oberyn Martell in Game of Thrones, has become best known in recent years for playing strong, silent types. And yet it is Pascal's warmth as an actor, his soft-eyed vulnerability, that truly elevates these confessional scenes with Ramsey (which again, can feel inelegantly paced). "Time heals all wounds, I guess," says Ellie, referring to Joel's suicide attempt. "It wasn't time that did it," he replies, looking at her. It's an ending about the difficulty of love at all costs, and what it means to find something to live for amidst the ashes. And then they are ambushed. It is a jarring moment in an episode of jarring moments. Structure and pace have been an issue for the second half of this series. The journey of Joel and Ellie feels too fragmented, too condensed, as though the show is missing an episode somewhere; an extra hour that could get across how long and hard this journey has been, that can make their father-daughter relationship feel more earned. In the same sense, the finale is only 43 minutes long, and feels as though it is missing a few scenes or set-pieces that can knit these big moments together. In the game, this is achieved through a lengthy sequence where Joel and Ellie must make their way through a tunnel of monstrous Clickers and Bloaters, only to reach the other side and find themselves captured by Fireflies. Yet the second half of this series has seemed curiously uninterested in the infected. (Credit: HBO) (Credit: HBO) Nonetheless, Joel wakes up in a dilapidated hospital, and is told the news by Firefly leader Marlene (Merle Dandridge): the Cordyceps fungus that has taken root inside Ellie's brain holds the key to saving mankind, but there is no way to remove it without killing the host. As we're shown in the opening flashback – starring the impressive Ashley Johnson, the original voice of Ellie, as the character's mother – Marlene was there when Ellie was born. Which, no matter the size of the big picture, makes her decision to sedate Ellie without giving her a choice feel ruthlessly pragmatic. Yet that arguably pales in comparison to what comes next. There is something about the brutal, nihilistic nature of post-apocalyptic fiction that makes it particularly susceptible to reactionary politics. These are cruel worlds where conservative values reign supreme; macho Wild West fantasies where only the strong and self-interested survive, and where men reclaim their place as gun-toting hunter-gatherers. Despite its ostensibly liberal politics – episode three's tender gay love story being the prime example – The Last of Us has not exactly proved the exception to the rule (for that, you should seek out another HBO series, last year's sublime Station Eleven). Although the scene where Joel rampages through the hospital, killing everyone as he goes – a man with his hands up in surrender, a relatively harmless surgeon, a pleading Marlene – before dooming the world to misery and death, does at least subvert the idea of the noble strongman. Much like in the game, you start out rooting for Joel, because you want him to save Ellie, but the knotty nature of his choices (including lying to her about what happened), even if they are perfectly understandable, ultimately challenges your sense of right and wrong. It's an ending about the difficulty of love at all costs, and what it means to find something to live for amid the ashes. The original voice actor of Joel, Troy Baker, once rationalised the character's decision: "People have asked me, 'why would Joel do that when he could have saved the world?', and my answer to them is always this – he did, he did save the world. It's just that the world was that girl, and that's it." Still, it's an act that will have consequences. This will no doubt become more obvious in the next series, an adaptation of The Last of Us: Part II, a sequel that explores how Joel's actions, from another character's perspective, are indefensibly selfish and obscene. It is a lengthy, meaty story about how there is no such thing as heroes and villains, how everyone is simply the protagonist in their own story. It is about as bold and interesting as sequels get. In the meantime, we have the first series of The Last of Us. The show has become a staggering success. Ratings are high. Buzz abounds. Never in my wildest dreams did I imagine my mother would know what a Clicker is. It is, by far, the greatest video-game adaptation ever made, even if it falls short of truly great television. What was fresh and exciting in video games in 2013 can often feel derivative and well-worn in 2023 TV. But none of that matters much when the characters are this absorbing, the performances this strong. Joel's choice might not have saved the world, but it has bought The Last of Us a long, shocking, harrowing future. We should be grateful to him for it. That’s all. No need for a trunk-sized battery that costs $20,000 to make and takes hours to recharge. Instead, the next generation of EVs, including Project Titan, will get their power from a battery the size of your iPhone. It recharges in just 15 minutes, and could soon have a range of up to 1,000 miles per charge. [Click HERE for the full story on this breakthrough battery technology.]( Sincerely, [Signature] Sarah Williams Associate Editorial Manager, Banyan Hill Publishing [divider] You are receiving this e-mail because you have expressed an interest in the Financial Education niche on one of our landing pages or sign-up forms on our website. If you test@recipient.com received this e-mail in error and would like to report spam, simply send an email to abuse@opensourcetrades.com. You’ll receive a response within 24 hours. Email sent by Finance and Investing Traffic, LLC, owner, and operator of Open Source Trades To ensure you keep receiving our emails, be sure to [whitelist us.]( This ad is sent on behalf of Banyan Hill Publishing. P.O. Box 8378, Delray Beach, FL 33482. If you would like to unsubscribe from receiving offers for Alpha Investor Report, please [click here](. This offer is brought to you by Open Source Trades. 221 W 9th St # Wilmington, DE 19801. If you would like to unsubscribe from receiving offers brought to you by Open Source Trades [click here](. © 2023 Open Source Trades. All Rights Reserved[.]( [Privacy Policy]( | [Terms & Conditions]( | [Unsubscribe](

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Average in this category

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Time to Read

Longer reading time requires more attention and patience from users. Aim for short phrases and catchy keywords.

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Average in this category

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Predicted open rate

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Spam Score

Spam score is determined by a large number of checks performed on the content of the email. For the best delivery results, it is advised to lower your spam score as much as possible.

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Flesch reading score

Flesch reading score measures how complex a text is. The lower the score, the more difficult the text is to read. The Flesch readability score uses the average length of your sentences (measured by the number of words) and the average number of syllables per word in an equation to calculate the reading ease. Text with a very high Flesch reading ease score (about 100) is straightforward and easy to read, with short sentences and no words of more than two syllables. Usually, a reading ease score of 60-70 is considered acceptable/normal for web copy.

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Technologies

What powers this email? Every email we receive is parsed to determine the sending ESP and any additional email technologies used.

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Email Size (not include images)

Font Used

No. Font Name
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