Ted and Peely's Great Adventures
One day after school, Peely was feeling excited on their way to the new park, because it had just opened. Peely met the two popular and horrid bullies from school. They were way bigger than Peely and they were unkind. There was a little dog there called Ted. Ted and Peely were from the same class at school. Ted noticed the unkindness.
'Get away from him,' Ted growled, took off his collar, and chased them out of the park. Peely was shocked and in a frightened way he said, 'Thank you. Would you like to come to my house to play?'
They were calmly walking when Peely tripped over a curb and hurt his knee. 'I think I need a rest,' thought Peely to himself. When Ted was helping Peely up, they stumbled across some footprints. The footprints looked like ginormous, purple paws.
'This looks like one of my old friends,' said Peely ...
READ MORE
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Irish Times
15 hours ago
- Irish Times
Stick review: Owen Wilson is full of charm in this wry, unassuming golf comedy
There is no logical reason why Owen Wilson 's new Apple TV+ dramedy Stick (Wednesday, Apple TV+) should be so full of charm. Once a regular collaborator with and even muse to high priest of cinephile quirkiness, Wes Anderson, Wilson has not had a project of note in years. Then there is the uneven quality of Apple's comedy output, which errs to a fault towards twee and fluffy (witness the unfiltered horror of feel-good soccer drama Ted Lasso). Plus the series is about golf, which already had its moment in the comedy spotlight with Caddyshack (let us also acknowledge underrated Kevin Costner rom-com Tin Cup ). Absolutely nothing about Stick screams obligatory binge-watch. But Stick sticks the landing. It coasts on the melancholic charm that was a feature of Wilson's early career as he plays a former golf wiz named Pryce Cahill, whose life has crumbled into a mid-life disaster zone until he discovers a young prodigy (Peter Dager) with a great swing and a terrible attitude and vows to make him famous. A likeable ensemble is filled out by Judie Greer as Pryce's ex wife and podcaster Marc Maron as his roguish best pal, Mitts. Owen Wilson, as Pryce Cahill, discovers 17-year-old golf prodigy Santiago Wheeler, played by Peter Dager. Photograph: Apple TV+. With his marriage and golfing prospects both in the bunker, Cahill is at rock bottom. But when he discovers the 17-year-old drop-out, Santi, played by Dager, thwacking a ball on the practice range, he's convinced he's stumbled upon the next Tiger Woods . Initially alarmed at being pestered by a random middle-aged man, Santi eventually comes around to Pryce's sales pitch. That is in contrast to his understandably suspicious mother, Elena (Mariana Treviño), who wonders about Pryce's motives and why he is so obsessed with turning her son into a star. Much like Wilson and his career-making performances in The Royal Tenenbaums and Zoolander , Stick has a satisfyingly ambling quality. It is never in much of a hurry; there is plenty of time to slow down and admire the scenery. But as Cahill and Santi strike up a partnership and head on the road – inevitably, there is a big amateur tournament they hope to win – there are hints of a deeper sadness underpinning Pryce's meltdown. As Pryce lowers his guards, so the series gradually becomes a character study in loss, survival and learning to move on. READ MORE The one caveat for the Irish viewer is that Stick insists Cahill's name should be pronounced 'Kay-hill', which will feel like nails driven into your ears. You won't want to scream at Stick – but you may want to take it aside and explain Cahill does not rhyme with 'fail'. That speed-bump aside, this wry, unassuming comedy swings, hits and, to mix sporting metaphors, knocks it out of the park.
Irish Times
21 hours ago
- Irish Times
The Music Quiz: What is Sam Smith's middle name?
Mikaela Mullaney Straus is better known by which stage name? Girl in Red King Princess Mykko Blano Arlo Parks What is Sam Smith's middle name? Francis Frederick Fergal Fintan Complete the title of Janelle Monáe's 2022 cyberpunk short story collection, The ______ _____: And Other Stories of Dirty Computer. Bookish Librarian Literary Librarian Memory Librarian Sensory Librarian A tattoo of which musician/songwriter is on Boy George's left arm? David Bowie Elton John Syd Barrett Marc Bolan Complete the full birth name of second-generation Irish soul/pop singer Dusty Springfield: Mary ______ Catherine Bernadette O'Brien. Amelia Charlotte Audrey Isobel How many Shakespeare sonnets did Rufus Wainwright adapt in his 2016 album, Take All My Loves? Seven Eight Nine Ten At an early point in her career, Canada's k.d. lang formed a tribute band to which female country singer? Patsy Cline Kitty Wells Brenda Lee Loretta Lynn On which UK Top 5 hit single from Robbie Williams' 1998 number one album I've Been Expecting You did Pet Shop Boys' Neil Tennant provide backing vocals? Strong Millennium She's the One No Regrets Which US pop singer is nicknamed 'Lesbian Jesus' by her fans? Brandi Carlile Hayley Kiyoko Melissa Etheridge Chappell Roan What is the colour in the title of Frank Ocean's 2012 debut album, Channel _______? Red Green Orange Blue
Irish Times
a day ago
- Irish Times
The Encampments review: Taut, disciplined documentary about Palestine protests at Columbia University
The Encampments Director : Kei Pritsker, Michael T Workman Cert : 12A Starring : Sueda Polat, Mahmoud Khalil, Grant Miner, Naye idriss, Bisan Owda, Ali Abunimah, Layan Fuleihan, Jamal Joseph Running Time : 1 hr 20 mins This fine documentary on the Palestine solidarity encampments at Columbia University, in Manhattan, makes much of comparisons with student protests against the Vietnam War in the late 1960s. We are reminded that the mainstream United States was not then much impressed with the students' actions. (A significant majority of those polled blamed the students themselves for the National Guard's killing of protesters at Kent State.) Over time, however, sympathy eventually drifted the way of the anti-war movement. 'Why do you think these encampments caused such an intense response from some of the most powerful people in the world?' the current film begins. We cut to Mike Johnson, speaker of the US House of Representatives, decrying 'radical, extreme ideologies'. Senator Tom Cotton then argues that 'these little Gazas are disgusting cesspools of anti-Semitic hate'. It all feels startlingly familiar – right down to the use of 'freaks', a very 1960s word, to describe the protesters. Sueda Polat, a graduate student at the heart of the movement, calmly notes widespread reluctance in the US media to engage with the continuing slaughter in Palestine. Yelling at students is a heck of a lot easier. Nobody would mistake The Encampments for an unaligned documentary. Kei Pritsker and Michael T Workman, reporting from the heart of the protest, structure their film around three key participants. Mahmoud Khalil , who acted as liaison between students and the university, later found himself arrested by the US immigration agency. Grant Miner, involved in the occupation of the college's Hamilton Hall, was subsequently expelled from Columbia. Along with Polat, those two, addressing the camera directly, provide a sober and reasoned defence for a campaign that, among other things, asked the Ivy League institution to divest from companies with ties to the Israeli government. READ MORE Counterarguments are sparse, mostly represented by spittle-flecked politicians and fulminating right-wing media. Fair enough. There is an honourable tradition of film-makers anchoring themselves to one core perspective – and, as the opening of the film clarifies, contradictory takes are available all day and every day. The Encampments may win over few hostile to the college occupations, but it offers an important record of how the campaign developed. Pritsker and Workman lay out the story in taut, disciplined fashion. There is no flash to the documentary – no animation, no re-enactments, no show-off montages. We learn about the demands for divestment. We hear how, after requests are ignored, students set up camps on the lawns. What seems to have set the Columbia occupation apart was the authorities' decision to allow the police in to arrest students. The directors get their camera in among the rough and tumble. The key difference between documentaries on the 1960s protests and those today is, of course, to do with technology. The students are wired in to one another and to the wider worlds with social media. The directors have equipment that can go anywhere (and that never runs out of film). [ Soundtrack to a Coup d'Etat: A fleet-footed chronicle that never lets up Opens in new window ] Pritsker and Workman are able to inveigle an extraordinary amount of information into an economic running time. We get close into the students' faces. We learn how they fed themselves. We get a sense of the movement spreading out to the rest of the United States and the rest of the world. It's a raw, bald film, but one that never loses its focus. What the world ultimately comes to think of the protests and of this film depends on events in the Middle East. But the cases of Miner and Khalil confirm that those behind the barricades had – and still have – much at stake. This is no game. 'We are just getting started,' one protester says towards the close. 'We have a cause we believe in and we are going to fight until the end.' In cinemas from Friday, June 6th
