There’s a singular moment—a pause—when you learn that your favorite film is about to be remade, reimagined, and/or getting a sequel in a different decade. Even when the intruder is only a spiritual successor within the same IP family, it’s a feeling that’s hard to name: it might arrive as dread, as defensiveness, as anticipation, sometimes all three at once. Of course, the original doesn’t vanish when a remake appears. The copy on your shelf, the lines you know by heart, the comfort scene incapable of tarnish, none of these are erased by a new adaptation, no matter how aggressive the marketing campaign. And yet, something always feels at stake. The passion, the temporary theatre, and the acceptance are all part of it, part of what it means to be a person who loves the movies. “Candyman” (2021) Right now, a new version of “The Blob” (1958) is in preproduction. “Scarface” (1983), already a remake with a legacy of its own, is rumored to be in the process of being reimagined once again. “The Wild Bunch” (1969), “Planes, Trains and Automobiles” (1987), “Spy Kids” (2001), “Cry-Baby” (1990), and “Lord of the Flies” (1963) are all potentially being reworked or reexamined. These are only a few, and, as always, there are bound to be “winners and losers.” The exciting part—the best part—will be the ripples made by anyone: first chances in the second attempt, an interpretation closer to the original spirit of adapted material, new technology, or by the voices heard from behind the camera. The 1992 film adaptation of Clive Barker’s short story “The Forbidden,” retitled “Candyman,” was directed by Bernard Rose, attached muscle and flesh to story bone, weaving horror in and out of reality, a building, an urban legend, and the understanding of “urban” by someone who can leave at any time. While Barker’s original story explored the British class system in contemporary Liverpool, Rose reimagined it in the context of Cabrini-Green, a public housing development in Chicago, shifting the focus to race and social class in inner-city America. Starring Tony Todd, Virginia Madsen, Kasi Lemmons, Vanessa Estelle Williams, and Xander Berkeley, with a Philip Glass score that is nothing short of heart-stopping, the film caused me to acknowledge, and to work to understand, the ways privilege informed my experience and how that experience affected what I didn’t or did see on the screen. I’d realize later what I didn’t see in this movie I loved: I didn’t watch the creative control of people whose experiences this film was based upon. In 2021, a reboot directed by Nia DaCosta made cinematic history. Nia DaCosta became the first Black female filmmaker to debut a film at number one at the domestic box office. “It was something that we talked about because it happened at the projects behind my elementary school,” the director said. “So, for me growing up, Candyman was real. He wasn’t coming from a movie.” She explains in a New York Times article titled “Candyman’ and the Power of Terrifying Legends.” DaCosta also co-wrote the reboot, dubbed a “spiritual sequel,” with Jordan Peele and Win Rosenfeld. It was what will always prove to me that a reboot, remake, or reimagining can be done right. I do not suppose, when I say that film success is connected to who gets to reimagine the remake. The other variables fill features on other pages, but the point in this one is that a bee sting is sometimes worth the figurative taste of honey. Sweets to the sweet, but for the sour as well. We’ve got an interesting couple of years ahead.

This month’s issue is all about people helping people, so we wanted to take a look at a unique native species with some inspiring community dynamics: the Florida scrub jay (Aphelocoma coerulescens)! QUICK FACTS • Scrub jays are Florida’s only endemic bird. • They are 10-12 inches long from beak to tail tip, with bright blue wings, tail, and head, and a soft gray back and belly. • They are non-migratory, staying in the same family territory year-round. • Scrub jays are super smart! They’re in the family Corvidae, which includes brainy birds like crows, ravens, and other jays. • Breeding pairs mate for life. WHERE CAN I FIND SCRUB JAYS? Only in Florida! As mentioned above, scrub jays are Florida’s only endemic bird which means they are found only here in Florida – you won’t find them anywhere else in the world. They live in areas of the state known as scrub, which occurs on ancient sand dunes, ridges, and flatlands. These habitats are characterized by an open, sunny structure with often stunted, shrub-like plants that are maintained by periodic fire. Scrub habitats are found in patches throughout Central Florida, including areas like: • The Lake Wales Ridge • Ocala National Forest • Merritt Island National Wildlife Refuge • And some conservation lands in coastal counties Florida scrub jays rely specifically on this habitat for a few key reasons. They primarily use the low-growing shrubs and trees for nesting. The short stature of these plants allows the birds to stay low enough to the ground to keep watch from predators while remaining hidden in the dense branches. Scrub jays are also ground foragers, so the open ground structure of the scrub provides the perfect environment for them to find insects, seeds, and acorns. Scrub is one of Florida’s fire-maintained ecosystems. Without fire, trees grow too tall to be prime scrub jay nesting habitat, and understory growth becomes too thick for easy scrub jay foraging. This makes the habitat balance extremely delicate, meaning Florida scrub jays are virtually unable to survive outside of properly maintained scrub ecosystems. SCRUB JAYS HELPING SCRUB JAYS One of the most fascinating things about scrub jays (and what makes them a perfect highlight for this month’s issue!) is their family structure. These birds practice cooperative breeding, which means that young birds stay with their parents for several years to help raise their younger siblings. This teamwork gives scrub jay families higher survival rates, and it’s a rare trait among birds in North America. Helpers assist by feeding new chicks, guarding the nest, and warning the mated pair about predators. It’s like having multiple built-in babysitters–that you don’t have to pay! Some helpers assist the breeding male in foraging for food, especially while the female is incubating eggs, and for the baby jays; others act as “sentinels,” alerting the other scrub jays of any predators nearby. This lets the mated pair focus more on supporting the nestlings, which is better for the population as a whole! There have even been documented cases where pairs of Florida scrub-jays that were unsuccessful in hatching their own brood assisted neighboring parents in raising their chicks. By essentially splitting parenting duties, the extra help reduced the “cost” of care for the breeding pair. Florida scrub-jays truly take the phrase “it takes a village” to heart. Did You Know? The cooperative behavior of Florida scrub-jays stands in contrast to brood parasitism, a reproductive strategy used by some other birds in Florida. In brood parasitism, females lay their eggs in other birds’ nests and leave the parenting to others—essentially outsourcing child care entirely! WHAT’S CAUSING SCRUB JAY POPULATION DECLINE? Unfortunately, Florida scrub jays are a threatened species, with population numbers dropping over the last few decades. The primary causes include a lack of natural and prescribed fire, habitat loss from development, and decreasing quality of existing scrub. We know that scrub habitats require fire to maintain their specific vegetation height and density. Unfortunately, we’ve dramatically reduced the amount of natural fire that occurs in Florida due to development, roads, and human safety concerns. Without natural fire rotations, and without using prescribed burns to mimic natural fire patterns, scrub landscapes quickly become overgrown, shading out the open spaces scrub jays rely on. We’re also inclined to build houses, businesses, roads, and neighborhoods in the areas of the state that are least prone to flooding–which happen to be upland habitats, including scrub. Because this land is prime real estate for development, areas of historic scrub are being slowly chipped away. Even in the scrub habitats that remain, improper management can create a structure that isn’t right for scrub jays to nest and thrive. As a unique, habitat-specific species, these birds may be quite resilient, but they still need the proper cover and food sources to support their populations. HOW CAN WE HELP? Florida scrub jays may help one another, but there are several things we can do to help them out as well! • RESPECT THE SCRUB: Scrub habitats are extremely delicate, so when visiting a scrub area, follow posted signs, stay on trails, and never feed wild scrub jays–it’s best to observe from a safe distance! • VOLUNTEER TO MONITOR SCRUB JAYS: Join “Jay Watch,” a citizen science project led by Audubon Florida and Archbold Biological Station to monitor scrub-jay populations. • IF YOU OWN LAND THAT HAS SCRUB HABITAT: Own scrub habitat? UF/IFAS Extension offers science based tools and connects landowners with technical assistance for habitat restoration. • EDUCATE YOURSELF AND OTHERS: Share what you’ve learned to help others understand and support scrub-jay conservation. For more information, please reach out to us at UF/IFAS Extension Polk County or directly to our office via email ( scarnevale@ufl.edu ). Looking for ‘learning on the go’? Check out the Naturally Florida podcast, available on all major podcast platforms.

Last month we featured garden hacks from Master Gardener Volunteers, and we have so many to share that we are back again with more! With a few simple strategies, you can make routine garden chores a bit easier and maybe even a little more fun. Polk County Master Gardener Volunteers have MORE “gardening hacks” to help make your time in the yard both productive and pleasant. SIMPLE HACKS FOR GARDEN UP-KEEP 1. SCHEDULE HEAVY TASKS SEASONALLY Certain times of year can be more “chore-heavy.” Block time in your calendar for these tasks to help you stay on track and avoid being caught off-guard by sudden plant growth or seasonal clean-up needs. A few days of concentrated effort in the spring and early fall can set up your planting beds for months of less maintenance and more enjoyment! 2. TIME YOUR MULCH APPLICATION In the spring, we get eager to mulch and “dress up” our garden beds, but if you have planting beds in or around large pine or oak trees, refrain from mulching until all the pollen and leaves have fallen so that your new layer of mulch is not covered. Even better, consider using the fallen leaves and needles themselves as mulch! 3. PLAN FOR MATURE PLANT SIZE When selecting new plants, consider their fullgrown size. Small plants can often be relocated if your landscape plans change, but large shrubs, palms, or trees require planning and often a lot of work to relocate or remove. 4. KEEP PLANT TAGS Save plant labels and mark newly installed specimens in your landscape. Knowing the variety helps you track performance, research care needs, and purchase more of your favorites. Use a garden journal like “Your Polk Yard 12-Month Guide and Journal” to record your plantings. STAY SUN-AWARE Keep a can of spray-on sunscreen in your garden work basket. When hands and arms get covered in sand/dirt as you garden, you might have more of a tendency to reapply your sunscreen with a convenient spray, as opposed to stopping to wash hands to apply cream types. Remember that sunscreen needs to be reapplied during periods of sun exposure. STAY SAFE, STAY COOL 1. GARDEN EARLY AND PROTECT YOURSELF To reduce heat stress, schedule yard work for the early morning. If the sun is beating down and you need more than a hat to cover up, consider using your beach umbrella and moving it around the yard with you as you work. You could even use a pop-up canopy or tent for more coverage. 2. HYDRATE BEFORE, DURING AND AFTER Prepare two bottles of ice water before heading outside. You may even want to have one bottle with an electrolyte mix just in case the heat becomes too much for you. Keep one water bottle with you as you move around the yard and drink often. Switch out bottles when you finish one, always keeping an ice-cold bottle waiting for you in the refrigerator. By keeping water with you as you work, you can continually sip and stay ahead of dehydration. There are many gardening hacks that can make yard maintenance a bit easier this summer. Remember, our growing conditions in central Florida are different than other locations and UF/ IFAS Extension Polk County and the Polk County Master Gardener Volunteers can help guide you and answer questions you have about landscape maintenance. For more information, contact UF/IFAS Extension Polk County at 863-519-1041 or visit us online at: sfyl.ifas.ufl.edu/polk . The Plant Clinic is open Monday-Friday, 9 a.m. to 4 p.m. to answer your gardening and landscaping questions. If you are interested in purchasing a garden journal, contact the Plant Clinic. If you are not in Polk County, contact your local UF/IFAS Extension Master Gardener Volunteer Plant Clinic. To learn more about gardening and landscaping in central Florida, listen to the “Your Central Florida Yard” podcast. Or find out more on our Substack: substack.com/@ yourcentralfloridayard. An Equal Opportunity Institution. Anne Yasalonis is the Residential Horticulture Extension Agent and Master Gardener Volunteer Program Coordinator for UF/IFAS Extension Polk County. Please contact her at anneanne@ufl.edu .

Maritime We tried the Polk County Burger Week special made with smoked pork belly, pimento cheese, arugula, tempura shrimp, pepper jam, and jalapeno on a ground beef patty on a cheddar bun. Big and messy, super tasty, we loved it! 302 4th St. SW, Winter Haven BLUE DOG CRAFT BARBECUE Blue Dog offered the Smokehouse Cheeseburger made with a house-ground brisket patty (smoked & seared), American cheese, yellow mustard, pickles, and onions on a brioche bun. It was smoky, juicy, cheesy, and oh-so-good! Blue Dog Craft Barbecue @ The Joinery 640 E Main St, Lakeland LOUISE’S KITCHEN Louise’s “Troi Banging Burger” made with a prime steak patty, gruyere cheese, caramelized onion jam, arugula, and roasted garlic peppercorn aioli on a pretzel bun was delicious! You had me at onion jam ... Louise’s Kitchen 1654 1st St. N, Winter Haven

A VISION FOR TOMORROW Saturdays & Sundays at MOSI. A groundbreaking 360° dome film showing three of Earth’s most vital ecosystems, each revealing an urgent environmental challenge: Trees, Air, and Water. Discover solutions with help from Water Mission, a nonprofit bringing clean water to vulnerable communities. mosi.org MONSTER JAM Aug. 15 – 17 at Amalie Arena. Get ready to cheer, scream, and be amazed as massive Monster Jam trucks and world champion drivers take over Tampa for a weekend packed with high-flying action and jaw-dropping stunts. amaliearena.com BOLTS BREW FEST Aug. 1, 7 p.m. at Amalie Arena. Sample your way around hundreds of beer options from more than 50 local, national, and international brands. Enjoy games, photo opportunities, and other fun surprises. 21+ only. VIP available for purchase. boltsbrewfest.com POPCORN FALLS Aug. 14 – 24 at Stageworks Theatre. The sleepy town of Popcorn Falls is forced into bankruptcy when a neighboring town threatens to turn them into a sewage treatment plant. Their only hope – open a theater! Two actors play over twenty roles in a world of farce love and desperation. stageworkstheatre.org BEYOND VAN GOGH, BEYOND MONET Throughout August at the Straz. Digital projections immerse viewers in the artistry of Post Impressionist and Impressionist painters. An original score plays during your journey through hundreds of Van Gogh’s and Monet’s masterworks. VIP allows you to skip the line! Purchase tickets in advance. strazcenter.org CERAMICS JEWELRY CLASS Every Monday at the Tampa Museum of Art from 1 – 4 p.m. These workshops focus on construction and decorating techniques to make your own custom ceramics jewelry. Firing costs, essential tools, and glazes included. 18 + only. Reserve in advance. tampamuseum.org MATILDA THE MUSICAL Through Aug 3 at the Straz. This is a musical adaptation of Roald Dahl’s beloved story about a brilliant young girl with a vivid imagination and a love for books. Matilda uses her cleverness and courage to overcome obstacles, including her neglectful parents and the tyrannical Miss Trunchbull, the headmistress of her school. strazcenter.org WILD WEEKEND BRUNCH Aug. 17, 10 a.m. - 2 p.m. at Zoo Tampa. This brunch buffet includes a carving station, breakfast favorites, desserts, and bottomless mimosas with every adult ticket. Get a visit from your favorite Zoo characters like Manny T and Flora as well as an up-close animal experience. zootampa.org SUMMER CLASSICS Every Sunday at 3 p.m. at the Tampa Theatre. Aug. 3: “The Good, The Bad and The Ugly.” Aug. 10: “The Wizard of Oz.” Aug. 17: “Roman Holiday.” Aug. 24: “Casablanca.” Aug. 31: “The Silent Clowns.” Purchase tickets online. tampatheatre.org DATE NIGHT: PASTA MAKING CLASS Aug. 19, 6:30 pm at Armature Works. Join DalMoros for a fresh pasta making class, wine pairings, & dessert. Choose your fresh pasta shape from a variety of dies, pair it with one of their homemade sauces, and enjoy recipes from their original location in Venice, Italy. Reserve in advance. armatureworks.com

INTERNATIONAL CAT DAY Aug. 2, 9 a.m. - 4 p.m. at the Central Florida Zoo. Get ready to celebrate these sleek and beautiful cats with a day full of family-friendly activities and hands-on experiences. Whether you’re a cheetah superfan or a leopard lover, there’s something for all to enjoy. centralfloridazoo.org SISTER ACT Aug. 15 – 17 at Dr. Phillips Center. When disco diva Deloris Van Cartier witnesses a murder and is hidden in a convent for protection, her unique moves and singing talent inspire the choir as she breathes new life into the church and community. drphillipscenter.org PUPPET PLAY DAY: PETER RABBIT Aug. 2, 9, 16 at Orlando Family Stage. Young creators will make their very own puppets, explore Mr. McGregor’s Garden through creative drama, and then settle in to enjoy a puppet show starring their favorite floppy-eared friends. Perfect for little ones and their grown-ups. orlandofamilystage.com A NIGHT AT THE CATSKILLS Aug. 6, 6:30 p.m. at Dr. Phillips Center. The Holocaust Center of Florida proudly presents a nostalgic, retro-themed comedy show that pays tribute to the legendary Jewish resorts of the Catskills that launched the careers of some of America’s greatest comedians. Dress in your best retro attire. drphillipscenter.org BANDS, BREW AND BBQ Select dates throughout August at SeaWorld. Guests will enjoy live music, indulge in mouth-watering BBQ including a variety of smoked and grilled favorites, and then quench their thirst from a wide selection of craft beers. Find the music schedule online. seaworld.com MOVIE & MARKET Aug. 6, 5:30 p.m. at Luminary Park. Explore 20-25 unique vendors featuring local favorites and curated goods. Watch “Ferris Bueller’s Day Off” at 7 p.m. with LED visuals and immersive sound. Free to attend on the first Wednesday of every month. downtownorlando.com TACOS AND TEQUILA Aug. 2, 1 – 4 p.m., 41 W Church St, Orlando. Sample and vote on your favorite tacos among competing food trucks, taco shops, and restaurants. There will be 30+ tequilas, mezcals, and other tasty beverages to sample, plus live music, games, and more. All included with ticket. tacosandtequilaorlando.com THE GREAT ALL-NIGHTER Aug. 16, at Enzian Theater. From midnight until dawn, watch a lineup of weird, wild, and wonderfully unexpected films. No titles revealed. Just stay awake with drinks, snacks, and plenty of surprises throughout the night. enzian.org LILO & STITCH Aug. 5, 10 a.m. at the Garden Theatre in Winter Garden for only $5. A young girl’s close encounter with an alien who happens to be the galaxy’s most wanted extraterrestrial. The two become unlikely best of friends. cwgdn.com EPCOT FOOD & WINE Begins Aug. 28 at EPCOT. Explore diverse cuisines from over 35 Global Marketplaces located all over the park. Kids can play Remy’s Hide and Squeak hunt as he “hides” throughout World Showcase. The Eat to the Beat Concert Series features live performances. disneyworld.disney.go.com

FUTURES THEORY & DOVE BOMB Aug. 2, 6 – 9 p.m. Futures Theory: Best Cover Band winner. Aug. 16, 5 – 8 p.m. Dove Bomb: Best Original Band winner in the Battle of the Bands High School Edition. Come out and hear these uber-talented kids play live at Bowen Yard in Winter Haven. FINE ART AT THE MAGNOLIA Fine Art at the Magnolia is returning for their 9th Year on Aug. 23 from 10 a.m. - 5 p.m. and Aug. 24 from 10 a.m. - 4 p.m. This Fine Art Show is open to the public and held indoors at the Magnolia Building in Downtown Lakeland (next to Hollis Garden and the Garden Bistro). thebohrergallery.com BACK TO SCHOOL BASH Aug. 2, 9 a.m. - noon at the Visit Central Florida Welcome Center. They’re giving away free backpacks to the first 500 students (child must be present to receive the backpack) and vendors will be on site giving away additional school supplies and other kid-friendly items. For more information please call the Welcome Center at 863-420-2586. BARK EASY Aug 16, 6:30 – 9:30 p.m. at Union Hall. Polk County Bully Project’s roaring 20s-themed fundraiser is all about having fun while raising money for the dogs! Dress to impress in your best 1920s wear while enjoying a fun night out benefitting the dogs of Polk County. bullyprojectrescue.org STUFFED ANIMAL FLIGHT SCHOOL Aug. 1 & 2 at the Florida Air Museum. Your child and their favorite stuffed animal will attend the flight school “orientation,” and then the stuffed animal stays overnight to earn their “wings.” You must register in advance. aceedu.org SUNSET DANCE SERIES Aug. 13 at Bonnet Springs Park. Enjoy an evening of dancing, music, and community! No partner or experience necessary. Social Mix & Mingle begins at 7 p.m., Dance Instruction begins at 7:30 p.m., and the dancing begins at 8:15 p.m. This is a free, indoor event. bonnetspringspark.com BEGINNER WATERCOLORS Aug. 9, noon – 3 p.m. at Bok Tower Gardens. Create your own Screech Owl watercolor painting from sketch to finish! They provide you with all the materials for the class along with instructions, tips, and techniques to guide you step-by-step through the process. boktowergardens.org THE ROLL UP Aug. 23, 5 – 9 p.m. at the Lakeland Film Lab at 126 W Main St. A super cool mini market with plants, cakes, tacos, great vibes from DJ Demi Korrin, and more! Head to their IG page for more details @lakelandfilmlab. YOUNG PROFESSIONALS AWARDS Aug. 13, 5 p.m. at Idlewood Venue in Lakeland. A Celebration of Polk County Young Professionals will be an evening event to celebrate the work of young professionals’ groups throughout the year and the people making a difference in Polk County. winterhavenchamber.com JON CORNEAL’S BIRTHDAY Aug. 30, 4 p.m. Celebrate Jon Corneal’s 79th birthday with a live show at Gram Parsons Derry Down. Hear Jon Corneal and his Compadres, the Buster Cousins Band, and Marcus Brixa & David Brimer play. There will be a covered dish & birthday cake social. Purchase tickets and learn more at gpderrydown.com .

A MAN CALLED OVE By Fredrik Backman Ove is that grumpy old man we all know, but beneath his prickly exterior is a man shaped by love and responsibility. As neighbors slowly draw him into their lives—whether he likes it or not—Ove’s story becomes a beautiful testament to the power of community and the unexpected grace of helping, and being helped, in return. THE LIFE YOU CAN SAVE By Peter Singer With clarity and urgency, Peter Singer lays out a powerful moral argument for why and how we can, and should, help alleviate global suffering. Far from overwhelming, his approach is practical and hopeful, offering real-world ways we can make a difference, one meaningful choice at a time. THE BOOK OF JOY By the Dalai Lama and Desmond Tutu Settle into this soul-nourishing dialogue between two of the world’s most joyful and compassionate leaders. It’s a weeklong conversation about what it means to live a good life in the face of suffering. Their laughter, wisdom, and shared humanity shine through every page, offering a vision of joy grounded in service, resilience, and love for one another. THE EGG By Andy Weir “The Egg” is a super short story that packs an incredible emotional impact. One man’s journey through the afterlife reveals a breathtaking truth: we are all connected. Told with simplicity and depth, it offers a stirring meditation on compassion, urging us to live with greater empathy, because every act of kindness is, in the end, kindness to ourselves. THE RUTHLESS ELIMINATION OF HURRY By John Mark Comer Sometimes helping others starts with slowing down enough to be fully present. Throughout this practical guide, Comer makes the case that the frantic pace of modern life is at odds with our deepest needs, for connection, meaning, and spiritual flourishing. By embracing stillness, simplicity, and rest, we can create the space to show up with compassion and clarity, for ourselves and for others. THE COLLECTED REGRETS OF CLOVER By Mikki Brammer Clover is used to helping others face death, but it takes one final wish to push her toward truly embracing life. As she begins to open up and connect with those around her, we’re reminded that healing often happens in relationships - that by holding space for others, we can discover what we need most ourselves. CONGRATULATIONS, BY THE WAY By George Saunders Gentle and deeply human, George Saunders’ reflections remind us that the most meaningful lives are built not on accolades, but on kindness. Adapted from his viral commencement speech, this small but powerful book encourages us to shift our attention outward, to notice others, to act with empathy, and to recognize the quiet, transformative power of everyday compassion. I AM THE MESSENGER By Markus Zusak What begins as a strange mission turns into a tender and unexpected journey of compassion. Ed Kennedy is just an ordinary guy until mysterious messages lead him to step into the lives of strangers. As he carries out small but life-changing acts, he learns that helping others can quietly and profoundly change your own life, too. TENTH OF DECEMBER By George Saunders Ok, I’m on a George Saunders kick, but his fiction is truly worth reading - and this collection offers a different take on kindness. This darkly funny collection of short stories explores what it means to be human in a complicated world. Surrounded by the absurdities and moral messiness of modern life, Saunders’ characters often stumble into small but thoughtful acts of care. Each story feels like a mirror reflecting all our imperfections, but also reminding us that even flawed people are capable of kindness.

ATMOSPHERE: A LOVE STORY By Taylor Jenkins Reid In 1980, Professor Joan begins training for the Space Shuttle in Houston with Top Gun pilot Hank, scientist John, mission specialist Lydia, warm-hearted Donna, and aeronautical engineer Vanessa, who become unlikely friends. In December 1984, on mission STS-LR9, everything changed in an instant. THE RIVER IS WAITING By Wally Lamb Corby Ledbetter, grappling with addiction, prison life, and the tragedy that shattered his family, finds unexpected kindness and connection behind bars, as he seeks redemption and hopes for forgiveness from those he’s hurt the most. VERA, OR FAITH By Gary Shteyngart Both a bitter and humorous tale of a family struggling to stay together in a country rapidly coming apart, told through the eyes of their wondrous 10-year-old daughter, by the bestselling author of “Super Sad True Love Story.” SNOOP By Gordon Korman Carter is stuck at home with both his legs in casts. Bored, he starts checking out the live feeds from police cams around his town. Before he knows it, he’s obsessed, watching his classmates when they don’t know he’s looking, and discovering some other VERY STRANGE things going on that no one else is noticing. THE BEWITCHING By Silvia Moreno-Garcia While researching a forgotten horror writer, a graduate student uncovers a disturbing link between a vanished schoolgirl, a sinister novel, and her great-grandmother’s eerie childhood tales, leading her to suspect that an ancient, malevolent force still lingers in the halls of her university. THE DAY THE BOOKS DISAPPEARED By Joanna Ho, Caroline Pritchard, and Dan Santat In an attempt to share his love of airplanes with his classmates, Arnold accidently wishes away all the books in his classroom until he learns that everyone’s individual interests bring them joy. FADE IN By Kyle Mills When an ex-Navy SEAL ends up injured and imprisoned, a shadowy ring of power brokers offer him the only way out, through a high-stakes military mission, in this knockout punch of an international political espionage thriller from #1 New York Times bestselling author. NOT QUITE DEAD YET By Holly Jackson Thirty-six hours after being attacked, Jet wakes in the hospital to grim news that a bone fragment is putting pressure on her brain’s arterial wall and will cause a fatal hemorrhage. Instead of choosing surgery with a slim chance of survival, she uses her last week to find her murderer.

I am well aware that by kicking this thing off with words like “greatest” and “ever,” I am wading into highly subjective waters. Anyone proclaiming that any one person or place or piece of pizza or work of art is the preeminent example of its kind, “of all time,” is either selling something, engaging in a bit of cheeky hyperbole, or else they’re probably just an asshole. Stirring the pot. There is a decent chance this whole thing spirals into a diatribe and lands me firmly in the asshole column; but my intentions are to hit that hyperbolic middle. I must admit I have a bit of a soft spot for hyperbole. Not all of it, of course. Not the dangerous, disinformation-tool kind, but the good kind. The kind that gets deployed over the course of a casual, friendly conversation, or a spirited bar debate; as a means of expressing one’s intense belief in the merits of say, a rock band or a book or the best taco stand in town, it can be a charming and effective version of the hard sell. Particularly at a time when the recommendations of friends and family have been de-valued by a glut of streaming content and the impersonal algorithms that sift through it all and feed it to us. If you were to tell me you just watched a show so good it could make a blind man see, I would know, of course, you were exaggerating; but you would certainly have my attention. So, in the spirit of friendly hyperbole, I repeat the first half of my opening statement: Jaws. Is the greatest movie. Ever made. It could make a blind man see. Now, about that second part; the one with the big, round number … FIFTY. Jaws is fifty years old. Take a moment to let that sink in if need be. I’ll wait. For some of you, I imagine that fact will land with all the subtlety of a fridge chucked off a bridge. Because regardless of your affinity for—or indifference to—the film itself, I’m willing to bet that quite a few of you remember that summer like it was yesterday. The lines outside the local theater. Everyone asking if you’ve seen it yet. The way a few of your friends or family members suddenly refused to wade too far out into the water in the wake of its release. Everyone was talking about it. It was in the zeitgeist. Though it would go on to become the first film to gross more than $100 million and ultimately be seen as the genesis of a summer tentpole movie season that seemingly has no end, its massive success was anything but pre-destined. In fact, less than a year before its June 20, 1975 release, it wasn’t a sure bet the damned shark movie would even be finished at all. Tales of the troubled production of Jaws have been recounted countless times in the half century since it was first loosed on the world, so, here they come again. Who am I to break with tradition? One commonly held belief is that there is a direct correlation between the film’s crackerjack suspense and the fact that “Bruce”—the twentyfive-foot, three-ton, remote-controlled great white star of the film—rarely worked the way it was supposed to and often looked remarkably silly when it did. In fact, the very first day the shark was to be used on set, it immediately sank, like a slapfull toolshed, to the bottom of Nantucket Sound. One unanticipated hiccup—a consequence of Bruce being tested exclusively in freshwater pools—was the destructive, abrasive effect of saltwater on the delicate monster. The ocean ran roughshod on the shark’s robotic guts, destroying its internal motors and forcing an on-the-fly, on-set, square-one redesign of all the little mechanisms tasked with making Bruce move and chomp and eat people. All of this, of course, couldn’t be addressed until he was fished up off the sea floor and drained like some salvaged chunk of shipwreck. As a result of these constant setbacks, Spielberg was forced to imagine creative ways to suggest the presence of his predator. In lieu of giving him a big, toothy close-up, buoyant, bright yellow barrels and fishing docks torn from their moorings were dragged through the water in the “animal’s” wake, allowing the audience to fill in the terrifying gaps in their minds. Not only did it imply that the shark was nearby, but because it was pulling those barrels behind it, the implication was that it was even closer than it seemed. Film cameras were also housed in a specially designed, plexiglass box and half-submerged to put the viewer directly into the water. And of course, there may be nothing in the entire film that more effectively insinuates the presence of the creature like John Williams’s iconic BA-DUM, Ba-DuM score … An iconic theme that Spielberg himself originally considered too simplistic, and which has since gone on to transcend language barriers the world over, becoming universally understood shorthand for “something is about to eat us.” Thankfully, the filmmaker would have full faith in the instincts of his once and future composer/collaborator, but in the summer of 1974, having taken over the Cape Cod island hamlet of Martha’s Vineyard, Steven Spielberg was not yet the wunderkind who would launch a thousand blockbusters. And now, I will pause to allow you the opportunity to Choose Your Own Cheesy Water/Shark Analogy: The twenty-seven-year-old filmmaker … (A): was in over his head. Or… (B): had bitten off more than he could chew. Either way, Spielberg, who had spent years in the television trenches, had just one previous, feature-length theatrical film to his name; the effective—if slight—Texas road trip crimedramedy “The Sugarland Express” (1974), starring a young Goldie Hawn. Texas, it would be fair to assume, was not a particularly helpful training ground regarding what might have been Spielberg’s most ambitious decision on the set of Jaws; his insistence on shooting it on the actual open ocean. You know, where there are big waves and stuff. And wind. And even real sharks. Prior to 1974, the majority of ocean-set films were shot in tanks, with controllable elements and matte-painted backdrops. Shooting Jaws at sea would no doubt lend the finished film a level of verisimilitude that wouldn’t have been possible in a big swimming pool. It was also a major factor contributing to the schedule ballooning from its initial fifty-five days, to a hundred and fifty-nine days. Three times the amount of shoot days agreed upon by the studio, and a constant point of contention that, on numerous occasions, nearly cost Spielberg his job. As a consequence of its going wildly over schedule, it soon became apparent—much to the chagrin of the suits in the studio back on the West Coast—that Jaws was never going to make its intended, prime holiday release slot in the winter of 1974. As a result, they were forced to push the film’s opening a full six months. A move which would drop it directly into the heart of a season that had long been reserved for the outcasts. Pictures the studios had lost faith in, that had tested poorly, or that no amount of reshoots or re-edits ever seemed to salvage. The bad bets, the favors, and vanity projects. Movies that the marketing departments had no idea how to sell or who to sell them to. Jaws was, by dint of simple necessity, doomed to either sink or make its splash in a square of the calendar traditionally considered to be Hollywood’s dumping ground … Summertime. Whether or not it was a self-fulfilling prophecy, borne out by the quality of product that was typically released over the summer months; the numbers, historically, did in fact confirm the widely held belief that audiences simply had better, sandier, sunnier shit to do in the time between days Memorial and Labor, then hole themselves up in the dark of an auditorium. Jaws would be, to the tune of nine figures, the exception that proved the rule. It proved the ever-loving holy shit out of it. Its unprecedented success would rattle an American filmmaking landscape that had only recently found its artistic footing, and it would signal a seismic change in the movie industry that—for better and worse—remains business as usual to this day. A full half a century later. One of the truly unfortunate legacies attributed to Jaws, is the unkillable and oft-repeated belief that it was directly responsible for killing thoughtful, mid-budget, director-driven cinema in America for good. The studio system, for little more than a decade prior, had reluctantly resigned its livelihood to a generation of longhaired, dope-smoking, left-wing hippies. A burgeoning interest in foreign cinema—the French New Wave, the Italian spaghetti westerns of Sergio Leone, and post-war Japanese filmmakers like Akira Kurosawa—had begun to take hold in Hollywood. The moviegoing public had begun to skew younger— the majority being under thirty years old—they were also more educated, curious, and socially conscious. Suddenly, chaste, technicolor musicals and lavish historical epics like “Mary Poppins” (1964), “Doctor Zhivago” (1965), and “The Sound of Music” (1965) were proving difficult to repeat and riskier to bankroll. For the first time in America, for a brief, beautiful decade, filmmakers, as opposed to financiers and studio fat cats, were given the keys to the kingdom. Quite suddenly, directors were being acknowledged as the driving artistic authors of the films being made, marketed, and released across the country. And then Jaws swam up and scared up a hundred million dollars and swallowed up the auteur movement and shit out five decades of loud, big budget, four-quadrant trash cinema. This is, of course, a wild oversimplification. It would be willfully ignorant not to at least acknowledge how it might seem that way on the surface, but to stop there insinuates, absurdly, that Jaws represented a hard stop. A line in the sand between the thoughtful cinema of the 70s and the excess of the 80s. On one side, there was Hal Ashby and “Easy Rider” (1969), and Altman and Malick and “The Deer Hunter” (1978) and “Dog Day Afternoon” (1975), “The Long Goodbye” (1973) and Bogdanovich and “The Last Picture Show” (1971) and “The Last Detail” (1973) and “Five Easy Pieces” (1970) and “Harold and Maude” (1971) and then BAM—Big Shark, Eat People, Go Boom, Make Money. The irony is that Jaws has far more in common with the films and filmmakers it was accused of killing, than it does with any of the four-quadrant popcorn comic book cash grabs it was credited with unleashing. One need only watch the damned thing with this in mind to see it for the thoughtful arthouse flick it truly is. Most of my favorite scenes in my favorite film don’t involve a shark at all. And not because it wasn’t working, but because they allow little moments of humanity and pathos, and levity to breathe. Roy Scheider’s put upon sheriff Brody, playing a quiet game of copycat with his young son at the dinner table before leaning in and grumbling, “give us a kiss” because he desperately needs it. Richard Dreyfuss’ Hooper showing up unannounced with a bottle of both red and white wine because “I didn’t know what you were serving” and then tucking into a plate of food before anyone can answer his neurotic “Is anyone eating this?” Brody popping the red wine bottle and glugging a pint glass full of it as Hooper exclaims, futilely, “you might wanna let that breathe.” The characters in Jaws constantly talk over one another, forcing the audience to choose which conversation to pay attention to, a technique utilized so often by another of the new Hollywood auteurs of the 70s that it has become known as simply AltmanEsque, after Robert Altman, director of “Nashville” (1975), “McCabe & Mrs. Miller” (1971), and “M*A*S*H” (1970), among others. When the men compare their scars in the belly of the Orca, there is a lovely, blink-and-you’ll-miss-it moment that occurs as Hooper and Quint are drunkenly recounting their respective run-ins with “big, fat Chinese fellas” and various sea creatures. Perhaps feeling left out of the first moment of genuine camaraderie since setting foot on the boat, Brody lifts his shirt and quietly considers his appendectomy scar, before deciding it isn’t really a story worth sharing. And of course, few, if any blockbusters in the fifty years since have stopped their story dead in its tracks to allow for a monologue as harrowing and heartbreaking as Quint recalling his experience during the sinking of the USS Indianapolis near the end of World War II. Everything we have seen him do to this point, and will see him do after, suddenly makes perfect sense. By the time he smiles and says, “So, eleven hundred men went into the water. 316 men come out, the sharks took the rest, June the 29th, 1945. Anyway, we delivered the bomb,” we know everything we need to know about him. The Greatest Movie Ever Made. So that about covers it. At least to the extent that I could manage to cover it under the crushing weight of a self-imposed responsibility I felt to give due credit to a film that has given me so much. If you’re interested in a more thorough, nose-totail examination of the entire production, I can’t recommend Carl Gottlieb’s book, “The Jaws Log,” highly enough. His detailed, almost diary-entry style account of the production was informed by the fact that he was there, on the island, on set, keeping an actual diary, and even sharing a bungalow with Spielberg for the entirety of the shoot. If you’ve hit your reading quota this week and prefer a more visual option, “The Shark is Still Working” (2007) from filmmaker Erik Hollander, is a charming, thorough documentary covering both the making of the film, as well as its enduring cultural impact. Or, for a more social, tactile experience, mark July 17 down on your calendars and come celebrate 50 years of the best movie ever made with me, at Grove Roots Brewing. I’ll be on hand to introduce the film. There might even be some Jaws trivia, Narragansett, and even some new merchandise to mark the occasion. EPILOGUE … When I was first offered the opportunity to write this article, to reshuffle those same, oft-repeated stories in a way that might read as even remotely fresh, I was reluctant. What could I possibly add to fifty years of analysis, from every conceivable angle, by bellyflopping onto the top of that pile? The honest answer is, not much. There is, however, one way that I can write about Jaws that has never been written before. As briefly as possible, I would like to tag this appreciation piece with just a few of the examples of what Jaws has meant to me personally. I made up my mind, nearly fourteen years ago now, (wow…) that if I was ever going to make a movie of my own, the first thing I needed to do, was to stop saying I was going to. Instead, anytime anyone would ask, I began telling them we were set to start shooting on August 1. It was an entirely arbitrary date that I had plucked from the ether, and it happened to be less than two months away from the moment I first blurted it out. I had decided, in a single, certainly beer-greased instant, that I would no longer be The Boy Who Cried Movie. By creating a deadline and stamping it on the calendar, I was committing to becoming something new. Something different. In sixty days, I would either fly or I would fail spectacularly; but one way or another, I was going to crawl my way out of that goddamned “someday” chrysalis. And though I’m certain I chewed up far too much of my word count waxing at the outset, about my affinity for it, it is not hyperbole when I say that Jaws informed and inspired my first film from the earliest spark of the story, until the day, years later, that we locked the final cut. Because I knew I would be working with a microscopic budget of just $6,000, I crafted the story from word one as though my shark already wasn’t working. Because I had settled on a zombie film, I purposely structured the narrative so that the main characters actively avoided populated areas, thus allowing the audience to focus on the men at the heart of the story, and our crew of only five people to steer clear, as often as possible, from expensive makeup, special effects and hungry extras. The entire third act would be an extended riff on that sequence below deck in the Orca, complete with a drunken sing-along of “Show Me the Way to Go Home.” My character’s name in the movie is Ben. My last name is Gardner. Ben Gardner is the name of the missing fisherman whose severed head makes an unforgettable appearance in one of Jaws’ most iconic jump scares. I bonded with an absolute indie horror filmmaking legend at a bar in Midtown Manhattan over too much whisky and our shared love of Jaws. The very next day, he read my script and became influential in eventually getting it made. Mostly, Jaws reminded me that movies about monsters are only as good as the people trying to slay them. Jaws does that better than any other example, period. For me, the shark has always worked. Even when it didn’t. Jeremy Gardner is the writer, director, and star of “The Battery” (2012) and “After Midnight” (2019). He has played supporting roles in numerous films. “The Battery” won the Audience Award for Best Feature and also received awards for Best Screenplay, Best Music, and Best Poster at the Toronto After Dark Film Festival (2013); The Audience Award for Best Feature at Dead by Dawn, Scotland’s International Horror Film Festival (2013); The Silver Scream Award at the Amsterdam Fantastic Film Festival (2013); Awarded Best Zombie Film at Fantaspoa; Nominated for Best Limited Release/Directto-Video Film at the Fangoria Chainsaw Awards (2015); won the Audience Award at Festival Mauvais Genre; and won Best Film at the Málaga International Week of Fantastic Cinema (2013). We wait, as some of his biggest fans, for his next film.

I. Amid the chaos of a malfunctioning shark and blockbuster ambition, it was the stillness of a story—told low and slow in the belly of a boat—that gave “Jaws” (1975) an inexorable sense of reality, serving to heighten fears imagined. Robert Shaw’s portrayal of Quint, recounting the horrors of the USS Indianapolis, etched itself into film legend. Shaw seemed to summon the performance from his marrow— something personal, something primal. It evoked the late-night tales told by weathered elders beside dwindling fires—stories of horror and survival, laced with gallows humor and told with such directness they left an impression long after memory let go of the details. Tales that felt too harrowing to be true, yet too vivid to be false. The monologue would serve as proof that blockbuster spectacle could pause for something as intimate as personal testimony. I’d argue that it still serves to remind film viewers and film makers alike of the character development necessary to leverage bombast with believability creating the pathway for our connection to the story. II. Born in Westhoughton, England, in 1927 and raised amid the rugged coastlines of the Orkney Islands, Robert Shaw’s early life contained the vivid shades and central characters that oftentimes make society’s storytellers. In a biography released last month by Christopher Shaw Myers, titled “Robert Shaw: An Actor’s Life on the Set of ‘JAWS’ and Beyond,” a chapter detailing his audition for the Royal Academy of Dramatic Art reveals a young Robert Shaw eschewing traditional performance pieces, instead reciting the poem “As I Walked One Evening” by W.H. Autumn. When his choice was questioned, he offered a critical analysis to his judges. Only after they’d heard his explanation of his first selection did he perform Marc Antony’s soliloquy from “Julius Caesar,” gaining him admittance to the academy. It was an early glimpse of a mind equally at home in interpretation and creation—a dual gift that would inform his later screen work, including his most iconic. He began his theatrical career with the Shakespeare Memorial Theatre, performing in “Macbeth,” “Cymbeline,” and “Henry VIII,” and later toured Australia and joined the Old Vic company. His career expanded—moving from Shakespeare to modern drama and television, and eventually across the Atlantic. Shaw’s versatility extended beyond performance: he was a novelist and playwright, publishing works like “The Hiding Place” and “The Sun Doctor,” which won the Hawthornden Prize, as well as “The Man in the Glass Booth,” later adapted for the stage and screen. III. The USS Indianapolis monologue isn’t just a standout moment in “Jaws,” it’s the scene where the film stops breathing. In just a few minutes, a summer blockbuster pivots into something more intimate and literary. The speech anchors Quint’s worldview in lived history, giving shape to his sense of fatalism and the eternal battle with the most tangible element in the series of events that informed the rest of his life. Though the authorship has long been debated, most agree the idea was first introduced by Howard Sackler, the uncredited writer who adapted the Peter Benchley novel and screenplay. He used his naval background to further develop the character of Quint through historical weight and lived experience. His initial version, reportedly two pages long, was a bump in a road that had many. By Spielberg’s account, the scene went through a number of drafts, with contributions solicited from writers like John Milius, Robert Zemeckis, Bob Gale, and Paul Schrader. Still, none of the versions fully captured the tone Spielberg wanted—until Robert Shaw stepped in. As a novelist and playwright in his own right, Shaw received the many drafts, revised them, and returned one night to dinner with a handful of pages, announcing, “I think I’ve got that pesky speech licked.” Spielberg agreed. Screenwriter Carl Gottlieb later credited Shaw with not just editing the piece, but transforming it—crafting the speech that now lives on in cinematic memory. Shaw synthesized the raw material into something singular, structured with a novelist’s instinct and performed with perfect restraint. IV. The postwar cultural landscape was saturated with stories of loss, heroism, and stoicism—all of which informed Shaw’s interpretive choices. Quint is a product of that world—a figure whose bravado is laced with unresolved trauma. Shaw’s understanding informed the tone of his performance: measured, weighted, and deeply aware of what wasn’t being said. His story unfolds like a long-rehearsed truth—raw, rhythmically composed, and impossible to dismiss. In that moment, the machinery of the film yields to the gravity of the human voice. The world on screen and the one off it stand still, listening. Shaw’s performance is unhurried. He builds tension through repetition—“Sometimes the shark would go away, sometimes he wouldn’t.” He paints pictures with restraint—“Black eyes. Like a doll’s eyes.” The rhythm mimics waves. The tone mimics testimony. And the silence that follows it mimics reverence. V. Fifty years later, the scene remains an apex of characterdriven cinema. It is cited in screenwriting manuals, dissected in classrooms, and remembered not merely as a standout movie moment living in our cultural consciousness, but as a story we all heard once—some sitting behind a screen fifty years ago, some as a film ritual every Fourth of July, and some only in the form of parody. Yes, there are those among us who haven’t yet seen “Jaws”—but tease not, for it is they who are within reach of a first viewing we’d all love a chance to live again. So, raise a glass of apricot brandy. Let the screen dim and celebrate the fiftieth anniversary of a scene crewed by the talents of many but captained by one.

Gardening is a fun hobby for many people, but when it feels like there is a lot of work to do and the weather is hot, landscape maintenance can start to feel overwhelming. With a few simple strategies, you can make routine garden chores a bit easier and maybe even a little more fun. Polk County Master Gardener Volunteers have some “gardening hacks” to help make your time in the yard both productive and pleasant. REDUCE PHYSICAL STRAIN 1. RAISE YOUR WORKSPACE Do you have plants to divide or seeds to start? Dividing or propagating plants doesn’t have to mean kneeling on the ground. Set up a sturdy table near your landscape bed. A folding card table works well—top it with an old cutting board and keep your favorite hand tools nearby. Working at table height can reduce back and knee strain, particularly for those with mobility concerns. 2. CREATE A POTTING STATION Designate a shady area in your yard for a simple potting table using concrete blocks and wooden boards. A potting table does not have to be elaborate or expensive. A dedicated space makes it easier to repot plants, start cuttings, and keep tools organized. Creating an ergonomic workspace can reduce fatigue and improve gardening enjoyment. 3. DON’T OVERDO IT Central Florida is hot and humid in the summer, and it is important to stop working before you are tired. Pace yourself. Plan time to clean and store tools at the end of your gardening session. Regular maintenance not only extends tool life but also keeps your yard tidy and reduces the burden of unfinished tasks. Take an few minutes to view the results of all your hard work at the end…with a glass of water in hand! GARDEN TOOL TIPS FROM THE EXPERTS 1. USE A BUCKET FOR TOOLS Do you often lose tools if you are doing a lot of work around your yard? Instead of setting them down in the grass, consider using a bucket. Keep a 5-gallon bucket nearby to carry your hand tools. As you work, return tools to the bucket instead of setting them down in the grass. This reduces the chance of misplacing them and keeps them clean. 2. MAINTAIN YOUR TOOLS After working in the yard, take time to clean your tools. Sharp, clean tools make garden work significantly easier. After each use, clean off soil, sharpen blades as needed, and lightly oil metal parts. Inexpensive pruner sharpeners are widely available and make a noticeable difference. A well-maintained tool lasts longer and performs better. 3. WEEDING MADE EASIER Many Master Gardener Volunteers find that bending down to pull weeds can really be a pain and suggest using a “scuffle” or “strap” hoe. These hoes are easy on the back and ideal for maintaining mulched beds. USDA has a free tutorial to make a hoe out of materials that are typically thrown away, check it out here: youtube/woHNgHkbWzA. 4. REMOVE ROOTS EASILY When digging up large, established plants, use loppers or a reciprocating saw to cut through tough roots. This technique can save time and reduce physical effort compared to struggling with a shovel alone. 5. USE A SHORT-HANDLED SHOVEL Planting annuals and perennials and feel that a garden shovel is too big for the task? A short-handled shovel offers more precision than a traditional spade while still being large enough to dig appropriately sized holes. There are many gardening hacks that can make yard maintenance a bit easier as the weather heats up. Remember, our growing conditions in central Florida are different than other locations, and UF/IFAS Extension Polk County and the Polk County Master Gardener Volunteers can help guide you and answer questions you have about landscape maintenance. For more information, contact UF/IFAS Extension Polk County at 863-519-1041 or visit us online at sfyl.ifas. ufl.edu/polk . The Plant Clinic is open Monday through Friday, 9 a.m. to 4 p.m. to answer your gardening and landscaping questions. If you are interested in purchasing a garden journal, contact the Plant Clinic. If you are not in Polk County, contact your local UF/ IFAS Extension Master Gardener Volunteer Plant Clinic. To learn more about gardening and landscaping in central Florida, listen to the “Your Central Florida Yard” podcast, or find out more on our Substack: substack.com/@yourcentralfloridayard . An Equal Opportunity Institution. Anne Yasalonis is the Residential Horticulture Extension Agent and Master Gardener Volunteer Program Coordinator for UF/IFAS Extension Polk County. Please contact her at anneanne@ufl.edu