The Farmers’ Almanac, a beloved and historic, if quirky, American staple, has been saved after previously announcing its closure due to financial pressure late last year.
To preserve it, Unofficial Networks, the family-owned skiing and outdoor news website, bought the 208-year-old publication known for its yearly pocket-sized print releases, weather forecasts, and gardening tips.
(The Farmers’ Almanac shouldn’t be confused with its competitor, TheOld Farmer’s Almanac, which has remained in circulation.)
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“I saw the announcement that one of America’s most enduring publications was set to close, and it felt wrong to stand by while an irreplaceable piece of our national heritage disappeared,” said Tim Konrad, founder and publisher of Unofficial Networks, in a press release sharing the news.
To Konrad, the Farmers’ Almanac is more than just a book, he said. “It’s a living link to generations of knowledge and curiosity about the natural world.”
“We have been working closely with the dedicated Farmers’ Almanac team to preserve the trusted content readers have relied on since 1818,” he continued.
The Farmers’ Almanac was founded by poet, astronomer, and teacher David Young alongside publisher Jacob Mann.
Young was the man behind the publication’s original forecasting formula, which, according to the Farmers’ Almanac, draws on “sunspot activity, tidal action of the Moon, the position of the planets, and more.” Young was also said to have been hired by the French to determine if there was an eclipse on the day Jesus was crucified.
The details of his formula have been kept secret, which, to some, lent the Farmers’ Almanac a whimsical, old-timey charm. Another part of the mystique: the pseudonym for the prognosticators behind the Farmers’ Almanac’s forecasts, Caleb Weatherbee, has been passed down through generations.
The Farmers’ Almanac wasn’t tailored specifically towards skiers. But its long-range forecasts would eventually become one of a few yearly signs in ski culture that winter was approaching, like the first snow.
“An American tradition continues! For more than 200 years, the values and wisdom of the Farmers’ Almanac have been protected and nurtured by four owner-publishers,” said Peter Geiger, longtime publisher and editor emeritus of the Farmers’ Almanac. “I am grateful to have found the right next custodian in Tim Konrad. I am also confident he will honor its heritage and carry it forward for generations to come.”
According to the press release, under the new ownership, there are plans in place to revive and expand the print edition of the Farmers’ Almanac. A post shared on Unofficial Networks noted that the publication’s websites will operate independently “to preserve the unique identities and strengths of each brand.”
“We’re grateful for the support from our readers and can’t wait to embark on this adventure together,” the post concluded.
Related: Meet Mallory Duncan, One of Skiing’s Foremost Creatives
Seven years after his acclaimed debut “Sorry to Bother You,” filmmaker Boots Riley is returning with his highly anticipated sophomore feature.
Neon has released the first trailer for “I Love Boosters,” a heist comedy centered on a crew of professional shoplifters who target a ruthless fashion mogul. The film features an ensemble cast led by Keke Palmer and Naomi Ackie, alongside LaKeith Stanfield, Taylour Paige, Poppy Liu, Eiza González, Don Cheadle and Demi Moore.
Riley again serves as writer and director, continuing the socially conscious, boundary-pushing approach that defined his 2018 SXSW breakout “Sorry to Bother You.” That film, which starred Stanfield alongside Tessa Thompson, established Riley as a filmmaker unafraid to blend satire with surreal, often dissonant ideas. In 2023, his Amazon series “I Am A Virgo” further cemented his reputation for politically charged, genre-defying storytelling.
“I Love Boosters” reunites Riley with Stanfield and marks another collaboration with Neon, which is producing and financing the project. Aaron Ryder and Andrew Swett are producing for Ryder Picture Company, joined by Allison Rose Carter and Jon Read of Savage Rose Films. Executive producers include Mike Jackman, Gus Deardoff, and Waypoint’s Ken Kao and Josh Rosenbaum.
“I Love Boosters” will make its world premiere as the opening night film of the South by Southwest Film and Television Festival’s 40th edition, bringing Riley back to Austin, where he first debuted as a feature filmmaker. The opening slot underscores the festival’s continued relationship with Riley.
“I Love Boosters” will release in theaters on May 22.
It’s Sunday, and you know what that means—we’re back with the results of another POWDER Weekly Poll!
This week, we asked, what ski pass offers the best value?
Here’s what 702 skiers had to say.
POWDER Weekly Poll Results
POWDER’s latest poll.
POWDER
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Poll Highlights
Total Votes: 702
Number of Votes on Instagram: 220
Number of Votes on Website: 482
Most Popular Option:Epic Pass (297 votes, 42% of voters)
Least Popular Option: Mountain Collective (54 votes, 8% of voters)
Other results:
Ikon Pass: 244 votes, 35% of voters
The Indy Pass: 108 votes, 15% of voters
Poll Observations
Not unsurprisingly, the two best-known ski passes on the market, the Epic Pass and the Ikon Pass, came out on top. There was some variability based on the platform skiers used to vote, though. On Instagram, which had a smaller number of voters, the Ikon Pass took first by a wide margin. On our website, the Epic Pass was the most popular option, and the most chosen option overall on both platforms.
Geography matters a lot when choosing a ski pass. “Value is very subjective,” read one comment on our website. “It all depends on your home mountain, how much you ski, and where you like to ski when traveling.” The Epic Pass, for instance, offers access to a large number of ski areas across the Northeast and Mid-Atlantic. Other commenters shared a similar sentiment.
It makes sense that the Indy Pass and Mountain Collective saw fewer votes. These passes differ significantly from the Ikon and Epic Passes, only offering two days of access at each mountain. That makes them strong candidates for vacationing skiers, rather than skiers looking for a pass they can use every weekend at their home mountain. They were also the cheapest two pass options we chose.
Summed up in a different way, another skier wrote, “The one I bought. It works for me and I don’t expect anyone to buy the same anything just because I did.”
Even as Vail Resorts has, at times, drawn the ire of skiers, its Epic Pass has remained less expensive than the competing Ikon Pass over the years. If you’re in an area with ski resorts covered by both passes, that would make the Epic Pass the most affordable option. That’s reflected in how skiers voted.
Watch out below!
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What We Could’ve Done Better
Are skiers getting tired of talking about ski passes? Most likely. This was one of the smallest turnouts we’ve seen for a poll. Last week, for instance, we received more than 3,000 votes for a poll about pole straps.
Limited by Instagram’s four-option max, this poll didn’t include some major passes. The Power Pass, namely, is relatively cheap and focuses mostly on ski areas in the American Southwest. It also provides access to two Chilean ski resorts. Other, more niche products, like the Boyne Passport, are on the market, too.
About the POWDER Weekly Poll
We launch our weekly polls at 3 p.m. Eastern Time every Monday. They remain open until 12:00 p.m. Eastern Time the following Friday, with the results dropping on Sunday at 9 a.m. Eastern Time. You can participate and see the results right here on our website or by visiting our Instagram page.
While you’re at it, drop us a line or leave an Instagram comment if there’s a poll you’d like to see next. Skiers have plenty of opinions and preferences, and we want to know which ones might land on top of the heap.
Related: The Epic Pass: Ski Resorts, Price, Benefits and More
Chris Pratt led the domestic box office on Friday with the only major newcomer of the weekend: Amazon MGM’s “Mercy.” The sci-fi thriller threatens to end the winning streak of “Avatar: Fire and Ash,” which has topped the North American charts for the past five weekends.
“Mercy” earned $5 million domestically on its opening day from 3,468 locations. The film is projected to gross $12.6 million by Sunday.
Pratt leads “Mercy” as Chris Raven, a detective from the not-so-distant future who is on trial for the murder of his wife, played by Annabelle Wallis. An AI judge, played by Rebecca Ferguson, gives him 90 minutes to prove his innocence or face immediate execution. Timur Bekmambetov, a familiar face in the screenlife subgenre, directs the film with a script from Marco van Belle.
“Avatar: Fire and Ash” added $1.7 million on its sixth Friday at the domestic box office. James Cameron’s sci-fi threequel should pull in an estimated $7.1 million over the weekend, bringing its North American total to $378 million.
Unless the tides shift, “Avatar: Fire and Ash” will relinquish its box office crown before the end of its sixth weekend in theaters. The first “Avatar” and its sequel, “The Way of Water,” both remained No. 1 through seven weeks and grossed well over $2 billion.
Lionsgate’s domestic thriller “The Housemaid” grossed $1.48 million on Friday for a third-place finish. Its domestic total should reach $115 million by the end of the weekend. The adaptation of Freida McFadden’s twisty novel became a sleeper hit through the holidays and beyond, powering well past its $35 million pricetag. Naturally, a sequel is in the works, with star Sydney Sweeney and director Paul Feig returning.
Rounding out the Friday top five were Disney’s box office juggernaut “Zootopia 2” and Sony’s zombie thriller, “28 Years Later: The Bone Temple.”
At No. 4 was “Zootopia 2,” which earned $1.4 million on its ninth Friday in North American theaters. The animated sequel should gross an estimated $5.9 million through the weekend, pushing its domestic total to a mighty $401 million.
“28 Years Later: The Bone Temple” came in last place with just $1.2 million domestic on its second Friday in theaters. Sony’s horror thriller opened soft last weekend with $13 million against projections of $20 million to $22 million through the Martin Luther King Jr. Day frame. “The Bone Temple,” which carries a $63 million price tag, looks to add $4.2 million by Sunday (a 68% drop), for a domestic total of $21 million.
RAPIDES, La. (WNTZ) – The North Rapides Business & Industry Alliance (NRBIA) has postponed its meeting scheduled for Monday due to freezing rain and hazardous road conditions. The decision to delay the meeting was made in light of forecasts indicating dangerous weather. Rep. Daryl Deshotel was expected to attend as a special guest at a […]
Whether you know professional skier Caite Zeliff as the Queen of Corbet’s Couloir or from her massive hucks on the big screen with MSP, you know she’s no stranger to big mountains.
Raised on the slopes of New Hampshire’s Cranmore Mountain, Zeliff took her skills from icy eastern gates to the Tetons and then to some of Alaska’s most formidable terrain to build her career.
Along the way, Zeliff found Morgan McGlashon, another ski racer turned big mountain aficionado. McGlashon was born and raised in the Tetons and spent her life playing in the range, even becoming the youngest woman to ski the Grand Teton at 18. After getting a degree in geology, McGlashon returned to the Tetons and subsequently became the youngest female ski guide at the prestigious outfitter, Exum Guides.
The parallels in Zeliff and McGlashon’s lives created a friendship that ran deeper than just skiing. Ultimately, this friendship led them on a ten-day expedition in Alaska’s Tordrillo Mountains.
You can watch Zeliff and McGlashon ski human-powered lines and navigate winter camping in My Ride or Die below, and keep reading for more.
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Zeliff and McGlashon are both undeniably total badasses.
Both of their pursuits on skis, whether human-powered up the toughest lines in the Tetons or heli-accessed in Alaska, take a lot of grit and bravery. However, after a big crash left her with a brain injury, Zeliff has started to explore a new approach to her career that emphasizes a duality between doing things with grit and bravery and slowing down and finding joy.
As familiar as she is with big-mountain lines in Alaska, Zeliff has often skied them by helicopter. McGlashon’s skill set as a ski mountaineer and guide was not only invaluable to the trip but also forced Zeliff to be a beginner again in some ways, which, in turn, forced her to slow down and find joy in learning again.
Zeliff and McGlashon.
Emily Sullivan
There’s no doubt the lines skied in My Ride or Die are impressive, but the film also explores the more complex themes of being a beginner again, trusting your friends, and the deeper bonds the mountains can form between people.
It’s a far cry from the shredporn-heavy films skiing sees too often, and gives a more vulnerable look at two incredibly strong skiers with a healthy dose of bluebird pow.
Lastly, having just spent a week in a tent in the backcountry with Zeliff myself, I can say she’s got the winter camping thing absolutely dialed now.
Related: Does Skiing Matter When The World Is Burning?
“Mercy” is built around two hooks that feel destined to inspire a lack of enthusiasm among critics. The first is that it stars Chris Pratt, who has not exactly found favor in the twelve years since he held down the center of “Guardians of the Galaxy.” In that movie, he seemed a natural-born star; his likability was part of the film’s chattery spontaneous pre-Marvel-overkill flow. Yet Pratt started to get swallowed up by the top-heavy franchise movies he was in — and it didn’t help that reviewers, weirdly, seemed to hold him almost responsible for his character’s stalker ethics in “Passengers” (2016). Over those last dozen years, he became a B-list presence.
Pratt factor aside, the premise of “Mercy” makes it sound like the sort of thin, doctrinaire anti-technology, anti-police-state thriller that Arnold Schwarzenegger would have starred in 40 years ago (and did, in fact, when he made “The Running Man”). But the movie turns out to be a notch or two better than you expect.
In the not-so-far-away future, Pratt’s Chris Raven is an LAPD officer — decent at heart, dirty around the edges — who wakes up after a bender to learn that he has been arrested and strapped into a digitally wired interrogation chair. Accused of killing his wife in cold blood, he is now the latest defendant in the Mercy program, a tolerance-is-for-suckers anti-crime experiment that sounds like pure government-meets-big-tech future-shock fascism. You’re placed on trial in front of an AI-generated enforcer named Judge Maddox (played, in a witty piece of casting, by the elegant Rebecca Ferguson), who is in fact going to be your judge, jury, and executioner. According to the law, you’re presumed guilty until proven innocent. Raven has just 90 minutes to defend himself and call up any evidence he wants. If the probability of his innocence dips below 94 percent (i.e., reasonable doubt), he’ll go free. If it doesn’t, he’ll be executed when the clock runs out.
This real-time thriller, in the tradition of “D.O.A.” and “Timecode,” is designed to make us go, “God, what a nightmare system.” And since the prospect of death-by-virtual-judge-by-evidentiary-algorithm sounds like the sort of demagogic idea that might fit all too well into the place America could now be on its way to becoming, we see the timely parallels. Yet as moviegoers, we’re still bracing ourselves for a one-note dystopian thriller-satire.
The first surprise of “Mercy” is that the virtual courtroom Raven finds himself in, with images scrolling around like something out of a pulp version of “Minority Report,” isn’t stacked against him in the way we expect. I mean, it sort of is, but since Raven is free to dial up anything he wants (documents, witnesses, surveillance footage) at the touch of a keypad, he’s got a universe of investigative power at his fingertips. All the evidence will be judged fairly. And since he can zip from one surveillance-camera clip to the next, and use that ability to essentially go back in time, the sheer speed and density with which the clues pile up make “Mercy” an avidly watchable mystery, even if it’s got a rather standard conspiracy plot at its core.
Pratt’s Raven is like a Bruce Willis character from the ’90s, and if he simply headed out into the streets of L.A. to clear his name, the film might feel like wall-to-wall cliché. Instead, scenes of detective action flash by in a pinpoint moment rather than overstaying their welcome. “Mercy,” directed by Timur Bekmambetov (“Wanted”) with a crisp short-attention-span gusto (the film has three editors, and you can see why), is like “Minority Report” meets “Memento” meets “Cops” meets a crime-detective video game. It threads Raven’s investigation through a multimedia mixmaster. And Pratt is compelling in it. He got swallowed up in franchise-ville because he let himself become an actor of bland good vibes, but here he’s sharp and nasty and a bit “dark,” which looks better on him.
At first, of course, the evidence that points to Raven being guilty looks airtight. He and his wife, Nicole (Annabelle Wallis), were in the midst of divorcing, and we see him show up at the house the morning of the murder, angry and reckless, demanding to be let in; minutes later, Nicole is lying in a pool of blood, having been stabbed with a kitchen knife. After the crime, Raven headed to a bar and drank so much that he can’t even remember what happened. (That he spent the last year falling off the wagon, taking nips of whiskey in the garage, only makes him look more scurrilous.) Solving the crime will require quick detours into the lives of his loyal partner who was killed (Kenneth Choi); his new partner (Kali Reis), who seems the soul of trustiness; his blustery AA sponsor (Chris Sullivan); and his teen-brat daughter (Kylie Rogers).
Yet none of them is as fully realized a character as Judge Maddox. She’s a completely programmed presence, but Rebecca Ferguson, speaking in authoritarian tones of dulcet logic, endows her with that barely perceptible twinkle of AI “consciousness.” As the film presents it, the Mercy program is fascistic. And Raven, as we learn, was responsible for bringing to trial its very first defendant. It was a show trial, designed to prove the superiority of judgment-by-AI. But can an AI judge really judge the evidence? Actually, the movie’s sly joke is that an AI judge might be able to do that more objectively than a jury; but it also needs a little human factor to collaborate with. You expect “Mercy” to be anti-AI, but it might be the first film of its era — it will not be the last — to look at AI and ask, “Can we all get along?”
Louisiana has community health centers that can provide low- or no-cost pap smears and gynecological screenings, encouraging women in rural or low-income areas to seek care.
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Ski brands have reputations, and for an entire generation of skiers, Blizzard’s has undoubtedly been that of being the brand for hard-charging resort skiers looking for powerful on-piste skis and crud-blasting performance. With stiff, damp, directional skis like the Cochise, Sheeva, Anomaly, and Rustler dominating their lineup for the better part of a decade, it’s been a long time since Blizzard delivered a ski aimed at skiers looking for something more playful. They’ve long catered to skiers who come from a racing background, or at least know a thing or two about “traditional” ski technique. With the release of the all-new Canvas line, that’s all changed.
Designed with heavy input from their next generation of freeride athletes, the all-new Blizzard Canvas 108 is something we haven’t seen in a long time from Blizzard: a progressive twin-tip ski without a beefy, metal-reinforced core inside to stiffen things up.
At first glance, it harkens back to the days of the Blizzard Gunsmoke in the mid-2010s era, a twin-tip freeride ski that balanced playfulness and Blizzard’s hard-charging DNA to become a cult-favorite ride among skiers out West. But, after riding it for the better part of the early season here in the Tetons and Wasatch, I’ve found it’s truly something new for Blizzard.
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Blizzards are stiff and filled with metal, right? Not this one! The Canvas 108 is a stark departure from what we’re used to seeing from the Austrians at Blizzard.
Of course, the elephant in the room is the fact that this is a purpose-built twin tip ski, with a suggested mount point closer to center than most. The tip and tail shape is still quintessentially Blizzard (with smoothly rounded taper lines paired with twin-rocker construction and good amount of camber underfoot. The size-specific turn radius (19 meters for the tested 186 length) falls squarely into the middle of the road, balancing both a quick-turning character with more high-speed stability.
The Canvas 108 skips the stiff nature of just about every other ski in the existing blizzard lineup–its poplar and paulownia wood core provides a soft, poppy, and very round flex profile. I was actually surprised to learn that a small strip of metal runs down the center of the ski, since it doesn’t add a “heavy metal” feel to the ski by any means. It’s no noodle, but I found it quite easy to flex. In fact, I can butter up onto the tips of these without too much effort–something I’ve never been able to do with any other Blizzard ski.
It’s a Blizzard, so yes, it can carve.
Griffin Kerwin
That softer flex also comes at the cost of some damping–an attribute many skiers have loved Blizzard’s other freeride skis for. However, it’s clear the design/athlete team wanted to do something different, so instead of all-out crud-busting dampness, they went in the direction of loads of energy, poppiness, and a ski that can ollie and boost off features like a skateboard.
The poppiness is further enhanced by how light the ski is. At 1870g per ski, the 186cm length falls closer to the category of backcountry touring skis than mid-fat all-mountain rippers.
For reference, I skied these mounted with a Look Pivot 2.0 and Atomic Remedy 130 boots.
On-Snow Performance:
Ski testing so far this winter has been much more challenging than most. Most resorts struggled to open on time, and warm temperatures combined with rain to ruin an already fragile snowpack once they did. I’m used to skiing pow starting around Thanksgiving here in the Tetons, so I was a bit bummed to be stuck riding chopped-up man-made snow on various Slopes of Hope/Ribbons of Death for most of December.
My mind wants to immediately compare it to other Blizzard skis to paint a picture about it, but I want to describe it for what it is, not what it isn’t. That being said, the Canvas 108 might as well have been the perfect ski for our collective early-season situation. The first word I’d use to describe this ski is very simple: “fun.” But it goes far beyond that.
The Canvas 108 is extremely easy to ski, initiating turns without much effort, and offers a substantial amount of “draw” for a twin twip (the feeling of a ski pulling you into a carved turn and across the fall line). It is a Blizzard after all, and these guys have a whole video series extolling the virtues of “The Turn,” so that responsiveness is not all too surprising. In my experience, most twin-tipped skis with a mount point this close to center don’t offer that, instead providing a more centered, neutral, and pivot-y character.
The quick-pivoting nature of the Canvas 108 makes steep bumps, chutes, and billygoat-y skiing a breeze.
Griffin Kerwin
However, the Canvas 108 doesn’t need your full front-of-the-boot attention to feel like you can control it. In fact, it wants to be pivoted, smeared, and buttered just as much as it wants to carve. It’s stupidly fun on skied-out groomers littered with sidehits where you’re carving a few turns, slashing some soft bumps, and lining up sidehit airs to spin, shifty, or perform whatever aerial maneuvers you please. In steeper trees, bumped out or chalky snow, the ski feels similarly alive, with the light weight and impressive pop making it easy to air over moguls, press through troughs, and drift high-speed turns in chalky windbuffed bowls.
The one downside to the sprightly nature of these skis is that they don’t have quite enough mass to punch through heavy, wet, and cut-up snow. While the tip rocker profile and loose tails help with maneuverability in those conditions (which we’ve unfortunately had more of this early season that I would wish on my worst enemy), they do get tossed around quite a bit when trying to ski fast in them.
I did head into some deeper snow out of bounds once it started falling in late December to get a feel for how these perform in big-mountain terrain. That included a few laps out the gates at Jackson Hole (once they re-opened after a forced closure) and some time on my favorite local backcountry bootpack on Mt. Glory. Unsurprisingly, the Canvas 108 is ridiculously fun in pow. The mid-fat waist width isn’t the floatiest option by any means, and I’d probably opt for the soon-to-be-released Canvas 118 for dedicated pow use, but the twin-rocker shape and approachable flex make these extremely fun to bounce around in deep snow aboard, encouraging slashes, nosebutters, and just all-around playful skiing.
Blasting down Jackson Hole’s Tower 3 Chute trying to beat Jim and Mads’ Strava time.
Griffin Kerwin
Comparisons:
About 10 years ago, the mid-fat twin tip was a very popular category in skiing, with just about every brand offering something to fill that slot. In recent years, that seemed to shift towards more directional offerings, especially from race-pedigree brands like Blizzard, Völkl, or Atomic. As always, the industry operates in circles, and today, I feel like that twin-tip style is making a comeback.
The first and perhaps most similarly-intentioned ski I’d compare the Canvas 108 to is the Faction Studio 2. Both fall into the all-mountain twin-tip category and are meant to balance playful and hard-charging characteristics, but do so very differently. I’ve found the Studio 2 to be stiffer and much more piste-oriented than the Canvas 108. It’s a bit quicker and more nimble and offers better edge hold on icy slopes, but I’d tap the Canvas for versatility and think it would make a more usable and fun resort ski for most skiers.
On the soft-snow freestyle front, I think the closest comparison is to the Atomic Bent 110. At nearly identical weights and very similar shapes, I expected these skis to feel more similar than they do. The Canvas feels much more energetic and “alive” than the Bent 110, making it a better option for inbounds skiing in variable conditions. Conversely, the more time I’ve spent on the Bent 110, I think it makes for an excellent freestyle touring ski that’s best kept to untouched soft snow.
Finally, for all you Blizzard diehards out there, I want to compare this to the Blizzard Rustler 11. These skis are nothing alike. That’s not to say that if you love the Rustler 11 you won’t like the Canvas–it’s just very different. Where the Rustler wants to blast high-speed directional turns through whatever lies in its path, the Canvas wants to dance around, air over, and style its way through similar terrain. The Rustler 11 wants to be in contact with the snow going straight, while the Canvas 108 doesn’t care whether it’s in the air, sideways, backwards, or upside down.
Chalky bumps! Are so fun on the Canvas 108!
Griffin Kerwin
What type of skier is the Blizzard Canvas 108 best for?
As such a stark departure from what we’ve seen coming out of the Blizzard factory these last few years, I think the Canvas 108 is a ski that’s going to be best suited for an entirely different set of skiers than a Rustler, Anomaly, Sheeva, Black Pearl or Cochise. Truth be told, the Canvas breathes some much-needed fresh life into Blizzard’s ski lineup and will be a great choice for any modern, progressive freeskier looking for a do-it-all resort ski for riding out West, or a pow-day ski for East Coast riding.
The best part? Thanks to its still excellent on-piste performance, I don’t think it will alienate skiers who still demand a ski that can carve and make a “real” ski turn–it can do that plus hang in the park, slash and butter in pow, and turn all the resort sidehits into your personal fun zone.
