NJ Gov. Christie, Letterman laugh about fat jokes

TRENTON, N.J. (AP) — New Jersey Gov. Chris Christie and David Letterman have shared some laughs about the many fat jokes the comedian has made about the lawmaker's ample girth.

Christie has termed his plumpness "fair game" for comedians. And during his first appearance on "Late Show with David Letterman" on Monday, the outspoken Republican and potential 2016 presidential contender read two of Letterman's jokes that he said were "some of my personal favorites."

The governor also drew loud laughs when he pulled out a doughnut and started eating it while Letterman asked him if he was bothered by the digs that have been made about his weight. Christie said he wasn't, noting that he laughs at the jokes if he finds them funny.

"Late Show" airs on CBS at 11:35 p.m. Eastern time.

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Well: Expressing the Inexpressible

When Kyle Potvin learned she had breast cancer at the age of 41, she tracked the details of her illness and treatment in a journal. But when it came to grappling with issues of mortality, fear and hope, she found that her best outlet was poetry.

How I feared chemo, afraid
It would change me.
It did.
Something dissolved inside me.
Tears began a slow drip;
I cried at the news story
Of a lost boy found in the woods …
At the surprising beauty
Of a bright leaf falling
Like the last strand of hair from my head

Ms. Potvin, now 47 and living in Derry, N.H., recently published “Sound Travels on Water” (Finishing Line Press), a collection of poems about her experience with cancer. And she has organized the Prickly Pear Poetry Project, a series of workshops for cancer patients.

“The creative process can be really healing,” Ms. Potvin said in an interview. “Loss, mortality and even hopefulness were on my mind, and I found that through writing poetry I was able to express some of those concepts in a way that helped me process what I was thinking.”

In April, the National Association for Poetry Therapy, whose members include both medical doctors and therapists, is to hold a conference in Chicago with sessions on using poetry to manage pain and to help adolescents cope with bullying. And this spring, Tasora Books will publish “The Cancer Poetry Project 2,” an anthology of poems written by patients and their loved ones.

Dr. Rafael Campo, an associate professor of medicine at Harvard, says he uses poetry in his practice, offering therapy groups and including poems with the medical forms and educational materials he gives his patients.

“It’s always striking to me how they want to talk about the poems the next time we meet and not the other stuff I give them,” he said. “It’s such a visceral mode of expression. When our bodies betray us in such a profound way, it can be all the more powerful for patients to really use the rhythms of poetry to make sense of what is happening in their bodies.”

On return visits, Dr. Campo’s patients often begin by discussing a poem he gave them — for example, “At the Cancer Clinic,” by Ted Kooser, from his collection “Delights & Shadows” (Copper Canyon Press, 2004), about a nurse holding the door for a slow-moving patient.

How patient she is in the crisp white sails
of her clothes. The sick woman
peers from under her funny knit cap
to watch each foot swing scuffing forward
and take its turn under her weight.
There is no restlessness or impatience
or anger anywhere in sight. Grace
fills the clean mold of this moment
and all the shuffling magazines grow still.

In Ms. Potvin’s case, poems related to her illness were often spurred by mundane moments, like seeing a neighbor out for a nightly walk. Here is “Tumor”:

My neighbor walks
For miles each night.
A mantra drives her, I imagine
As my boys’ chant did
The summer of my own illness:
“Push, Mommy, push.”
Urging me to wind my sore feet
Winch-like on a rented bike
To inch us home.
I couldn’t stop;
Couldn’t leave us
Miles from the end.

Karin Miller, 48, of Minneapolis, turned to poetry 15 years ago when her husband developed testicular cancer at the same time she was pregnant with their first child.

Her husband has since recovered, and Ms. Miller has reviewed thousands of poems by cancer patients and their loved ones to create the “Cancer Poetry Project” anthologies. One poem is “Hymn to a Lost Breast,” by Bonnie Maurer.

Oh let it fly
let it fling
let it flip like a pancake in the air
let it sing: what is the song
of one breast flapping?

Another is “Barn Wish” by Kim Knedler Hewett.

I sit where you can’t see me
Listening to the rustle of papers and pills in the other room,
Wondering if you can hear them.
Let’s go back to the barn, I whisper.
Let’s turn on the TV and watch the Bengals lose.
Let’s eat Bill’s Doughnuts and drink Pepsi.
Anything but this.

Ms. Miller has asked many of her poets to explain why they find poetry healing. “They say it’s the thing that lets them get to the core of how they are feeling,” she said. “It’s the simplicity of poetry, the bare bones of it, that helps them deal with their fears.”

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Have you written a poem about cancer? Please share them with us in the comments section below.

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Justice Department sues S&P over mortgage bond ratings

The federal government is embarking on one of its most ambitious efforts to assign blame for the financial crisis, going after Wall Street's biggest credit rating firm for its role in pumping up the housing bubble.

The Justice Department filed a lawsuit late Monday in Los Angeles federal court against Standard & Poor's Corp. The suit accuses the company's analysts of issuing glowing reviews on troubled mortgage securities whose subsequent failure helped cause the worst financial crisis since the Great Depression.

The action marks the first federal crackdown against a major credit rater, and it signals an untested legal tack after limited success in holding the nation's banks accountable for the part they played in the crisis.

The government selected Los Angeles as the venue to file the lawsuit in part because it was one of the regions hardest hit when the bottom fell out of the housing market. Hundreds of thousands of California residents lost their homes to foreclosure, and others saw their wealth evaporate as properties plummeted in value.

"The DOJ is playing hardball and they're coming at the ratings agency in a very different direction with a potentially very powerful weapon to push S&P to the settlement table," said Jeffrey Manns, a law professor at George Washington University.

In addition to the Justice Department, several state attorneys general are investigating the ratings agency. States such as California and New York are expected to pursue their own investigations and legal action, people familiar with the matter said.

S&P has faced other lawsuits from investors and the states of Illinois and Connecticut.

California is expected to sue S&P under the state's False Claims Act, one person familiar with the matter said. The law makes it a crime to defraud the state, and damages of up to three times the amount of the claim can be awarded if the victim was an institutional investor, such as one of the state's pension funds.

The federal action does not involve any criminal allegations. Critics have complained that the government has yet to send any senior bankers or Wall Street executives to jail for potential illegal behavior that led to the crisis.

But civil actions typically require a much lower burden of proof.

Investors rely in part on rating agencies to decide what stocks, bonds or other securities to buy based on the agencies' recommendations about their safety. The three major raters – S&P, Moody's Investors Service and Fitch Ratings — have all been criticized for giving perfect AAA ratings to complex bonds in 2007 that later turned out to be nearly worthless.

It was not known why Standard & Poor's was singled out in the federal lawsuit.

The government and S&P have tangled before. The rating agency in August 2011 issued a historic downgrade of U.S. creditworthiness and threatened to lower it even further.

The two sides were reportedly in settlement talks that broke down during the past week. The ratings firm could face hundreds of millions of dollars in fines and new restrictions on its business model if found liable of civil violations.

S&P, which is a unit of publisher McGraw Hill, denounced the lawsuit in a detailed and strongly worded response. The company said the claims were unjustified, adding that it acted in "good faith" to warn the world about some of the securities that went belly up.

"A DOJ lawsuit would be entirely without factual or legal merit," the company said, adding that even the U.S. government "publicly stated that problems in the subprime market appeared to be contained."

The rating firm has steadfastly maintained that it was protected under the 1st Amendment to state an opinion about certain financial products. That argument may not hold up if federal or state investigators are able to prove that the ratings agency knowingly gave improper evaluations.

The lawsuit zeros in on a series of collateralized debt obligations that were created at the height of the housing boom in 2007, according to S&P. The value of these exotic mortgage securities was nearly wiped out when the subprime mortgages they were tied to imploded.

Lawrence J. White, an economics professor at New York University's business school, believes that the housing crisis could have been more contained if ratings agencies had been more careful.

"If they had been more conservative in their ratings, fewer bonds would have been sold, the interest rates would have been higher, fewer mortgages would have been granted," White said. "There would still have been a housing bubble, but it might not have been quite so severe."

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'American Sniper' Chris Kyle shot dead in a post-combat world

Military sniper Chris Kyle had survived the dust-worn places where he had to worry about enemy fire — or even friendly fire — until this weekend.

Kyle, 38, an author and former Navy SEAL, was shot dead Saturday by an unemployed, 25-year-old Marine veteran, Texas officials said Sunday. Kyle's friend Chad Littlefield, 35, was also killed. No one witnessed the shootings, authorities said.

The suspect, Eddie Ray Routh, used a semiautomatic handgun to shoot Kyle and Littlefield multiple times at a secluded gun range at the Rough Creek Lodge southwest of Fort Worth, investigators said at a televised news conference. Routh is in custody and is expected to face two capital murder charges.

Routh had enlisted in the Marines in 2006, deploying to Iraq in 2007 and to Haiti in 2010 for hurricane relief. He remains in the Marine Reserve.

After Kyle left the Navy in 2009, he wrote "American Sniper: The Autobiography of the Most Lethal Sniper in U.S. Military History." During his four deployments to Iraq, he wrote, he'd recorded the most confirmed kills of any American sniper — more than 150.

Back in the States, Kyle was known to take troubled veterans to gun ranges as part of giving back — shooting and hanging out as a kind of therapy.

"The shooter is possibly one of those people," Erath County Sheriff Tommy Bryant said at the news conference, hinting that Routh's mother, a schoolteacher, may have reached out to Kyle to get help for her son. Officials couldn't confirm whether Routh had suffered from post-traumatic stress disorder.

Routh appeared to be one of the nation's numerous unemployed veterans, and Kyle was one of those who left the anonymity of military service and entered the public sphere.

Kyle's autobiography was unapologetically politically incorrect: During one visit home between deployments, he got a tattoo of a crusader cross on his arm.

"I wanted everyone to know I was a Christian," Kyle wrote. "I had it put in in red, for blood. I hated the damn savages I'd been fighting. I always will. They've taken so much from me."

Kyle won adulation and a spotlight and appeared on the NBC reality show "Stars Earn Stripes," in which "celebrities are challenged to execute complicated missions inspired by real military exercises."

In an interview last year with Fox News' Bill O'Reilly, Kyle claimed to have punched former Minnesota Gov. Jesse Ventura in 2006 for "bad-mouthing the war, bad-mouthing Bush and bad-mouthing America."

Kyle was president of Craft International, a military and law enforcement training company. In a statement lamenting the slayings, the company identified Littlefield as Kyle's trusted friend and said they died trying to help "a troubled veteran."

News of Kyle's demise spread quickly through the Navy SEAL community, according to Rorke Denver, a reserve SEAL team lieutenant commander based in San Diego, who served with Kyle on SEAL Team 3 in Iraq.

"We're such a small brotherhood that when something happens to anybody here or overseas, word travels fast," Denver said Sunday.

Denver said the news was "really hard to believe," and he called Kyle "one of our real champions and battle stars."

"I knew Chris had been working with other veterans, folks with PTSD, trying to help them get better," Denver said. "It's hard to stomach that someone he was trying to help would turn on him."

Denver said he had been fielding questions from civilians who couldn't understand why Kyle would have taken someone with PTSD to a shooting range — but as a veteran, he understands.

"That type of shooting can actually be cathartic, calming," Denver said, "letting your heart settle," particularly for veterans who have just returned home after being accustomed to carrying weapons.

Officials said they didn't have a motive for Routh's attack. The three men apparently traveled to the gun range together in the same truck.

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Beyonce electrifies at Super Bowl halftime show

If naysayers still doubted Beyonce's singing talents — even after her national anthem performance this week at a press conference — the singer proved she is an exceptional performer at the Super Bowl halftime show.

Beyonce opened and closed her set belting songs, and in between she danced hard and heavy — and better than most contemporary pop stars.

She set a serious tone as she emerged onstage in all black, singing lines from her R&B hit "Love on Top." The stage was dark as fire and lights burst from the sides. Then she went into her hit "Crazy In Love," bringing some feminine spirit to the Superdome as she and her background dancers did the singer's signature booty-shaking dance. Beyonce ripped off part of her shirt and skirt. She even blew a kiss. She was ready to rock, and she did so like a pro.

Her confidence — and voice — grew as she worked the stage with and without her Destiny's Child band mates during her 13-minute set, which comes days after she admitted she sang to a pre-recorded track at President Barack Obama's inauguration less than two weeks ago.

Beyonce proved not only that she can sing, but that she can also entertain on a stage as big as the Super Bowl's. The 31-year-old was far better than Madonna, who sang to a backing track last year, and miles ahead of the Black Eyed Peas' disastrous set in 2011.

Beyonce was best when she finished her set with "Halo." She asked the crowd to put their hands toward her as she sang the slow groove on bended knee — and that's when she the performance hit its high note.

"Thank you for this moment," she told the crowd. "God bless y'all."

Her background singers helped out as Beyonce danced around the stage throughout most of her performance. There was a backing track to help fill in when Beyonce wasn't singing — and there were long stretches when she let it play as she performed elaborate dance moves.

She had a swarm of background dancers and band members spread throughout the stage, along with videotaped images of herself dancing that may have unintentionally played on the live-or-taped question. And the crowd got bigger when she was joined by her Destiny's Child band mates.

Kelly Rowland and Michelle Williams popped up from below the stage to sing "Bootylicious." They were in similar outfits, singing and dancing closely as they harmonized. But Rowland and Williams were barely heard when the group sang "Independent Woman," as their voices faded into the background.

They also joined in for some of "Single Ladies (Put a Ring On It)," where Beyonce's voice grew stronger. That song featured Beyonce's skilled choreography, as did "End of Time" and "Baby Boy," which also showcased Beyonce's all-female band, balancing out the testosterone levels on the football field.

Before the game, Alicia Keys performed a lounge-y, piano-tinged version of the national anthem that her publicist assured was live. The Grammy-winning singer played the piano as she sang "The Star Spangled Banner" in a long red dress with her eyes shut.

She followed Jennifer Hudson, who sang "America the Beautiful" with the 26-member Sandy Hook Elementary School chorus. It was an emotional performance that had some players on the sideline on the verge of tears. Hudson also sang live, her publicist said.

The students wore green ribbons on their shirts in honor of the 20 first-graders and six adults who were killed in a Dec. 14 shooting rampage at the school in Newton, Conn.

The students began the song softly before Hudson, whose mother, brother and 7-year-old nephew were shot to death five years ago, jumped in with her gospel-flavored vocals. She stood still in black and white as the students moved to the left and right, singing background.

___

Follow Mesfin Fekadu on Twitter at http://twitter.com/MusicMesfin

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Medicines Co. Licenses Rights to Cholesterol Drug

The drug, known as ALN-PCS, inhibits a protein in the body known as PCSK9. Such drugs might one day be used to treat millions of people who do not achieve sufficient cholesterol-lowering from commonly used statins, such as Lipitor.

The Medicines Company will pay $25 million initially and as much as $180 million later if certain development and sales goals are met, under the deal expected to be formally announced Monday. It will also pay Alnylam, which is based in Cambridge, Mass., double-digit royalties on global sales.

That is small payment for a drug with presumably a huge potential market, probably reflecting that Alnylam is still in the first of three phases of clinical trials, well behind some far bigger competitors.

The team of Sanofi and Regeneron Pharmaceuticals is already entering the third and final stage of trials with their PCSK9 inhibitor, as is Amgen. Pfizer and Roche are in midstage trials.

ALN-PCS is different from the other drugs. It uses a gene-silencing mechanism called RNA interference, aimed at shutting off production of the PCSK9 protein. The other drugs are proteins called monoclonal antibodies that inhibit the action of PCSK9 after it has been formed.

Alnylam and the Medicines Company hope that turning off the faucet, as it were, will be more efficient than mopping the floor, allowing their drug to be given less frequently and in smaller amounts.

But that has yet to be proved. No drug using RNA interference has reached the market.

The Medicines Company, based in Parsippany, N.J., generates almost all of its revenue from one product — Angiomax, an anticlotting drug used when patients receive stents to open clogged arteries.

Dr. Clive A. Meanwell, chief executive of the company, said that PCSK9 inhibitors are likely to be used at first mainly by patients with severe lipid problems under the care of interventional cardiologists, the same doctors who use Angiomax. “It really is quite adjacent to what we do,” he said.

The Medicines Company licensed Angiomax from Biogen Idec, where the drug was invented and initially developed under a team led by Dr. John M. Maraganore, who is now the chief executive of Alnylam.

“It’s a bit like getting the band back together,” Dr. Maraganore said.

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U.S.-Mexico trade war over tomatoes appears to have been averted

American and Mexican tomato growers appear to have avoided a trade war — the U.S. Commerce Department has released a draft of an agreement governing the price of tomato imports from Mexico.

U.S. growers in Florida had accused their Mexican counterparts of selling their tomatoes below fair market value, a practice known as dumping.

The new agreement, which sets a minimum wholesale price for tomatoes, would replace a trade pact that went into effect 17 years ago.

Francisco Sanchez, the undersecretary of commerce for international trade, said in a statement Saturday that the agreement puts in place "robust enforcement that will allow American workers and the U.S tomato industry to compete on a level playing field."

In the last decade, U.S. growers found themselves competing heavily with Mexico. That country's exports of tomatoes to the U.S. reached $1.81 billion in 2011, more than quadruple the $412 million in 2000.

Eager to continue exports and sales of their tomatoes, Mexican tomato growers and importers worked with Commerce Department officials on drafting an agreement.

The plan, open to public comment until Feb. 11, would raise the wholesale price for tomatoes and strengthen anti-dumping enforcement.

One provision of the agreement, expected to take effect March 4, creates a reporting mechanism to monitor the price of production by Mexican growers.

Martin Ley, a Mexican tomato grower involved in the negotiations, said the agreement was made possible by steep concessions on the part of Mexican tomato producers.

"Getting to this moment no doubt required significant compromise by the Mexican growers," he said in a statement. "Even though no dumping or injury to the U.S. industry was demonstrated by our competitors, over the last year our growers worked with our government to overhaul the whole Mexican industry, broaden the coverage and develop tough enforcement schemes.

"While concessions on price will impose hardships on our industry, we are hopeful that over the long run we will be able to continue to supply the United States with what are acknowledged to be the best tomatoes in the market."

Late last month, a study, paid for by a Mexican tomato trade group, predicted that the price of winter tomatoes would have doubled if Mexican imports were excluded from the U.S. market. The study, released by the Fresh Produce Assn. of the Americas, projected that the price of hothouse round tomatoes, for instance, would have risen from $2.02 a pound to almost $4 a pound.

U.S. growers appeared to back the agreement but held firm to their assertion that Mexico was dumping its tomatoes.

With the agreement, "we're hopeful and optimistic that we'll be able to compete under fair trade conditions," Edward Beckman, president of Certified Greenhouse Farmers, said in a statement. "Much work remains to have the agreement fully and faithfully implemented, and continuous monitoring and enforcement will be critical."

ricardo.lopez2@latimes.com

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'Argo' director Ben Affleck Wins DGA Award

Ben Affleck was named outstanding director for "Argo" at the 65th Annual Directors Guild of America Awards, which were held Saturday night at the Ray Dolby Ballroom at Hollywood & Highland.

The win solidifies "Argo" as an Oscar frontrunner, after the film also claimed key honors from the Screen Actors and Producers guilds last weekend.

"I don't this makes me a real director, but I think it means I'm on my way," Affleck said in a speech.

The other nominees for the feature directing award were Kathryn Bigelow for "Zero Dark Thirty," Tom Hooper for "Les Miserables," Ang Lee for "Life of Pi" and Steven Spielberg for "Lincoln."

The DGA award for feature directing has traditionally been a reliable indicator of who will win the directing Oscar -- only six times since the DGA Awards began in 1948 have the two honors differed.

But this year's Oscar directing race has been a bit of a head-scratcher--Affleck was not nominated, despite his film receiving multiple nominations from the Academy in other categories. Bigelow and Hooper were also snubbed.

The DGA is a larger body than the Academy's directing branch, representing 15,000 members, many of them in television.

The ceremony's television winners included Rian Johnson, who earned the drama series award for directing the "Fifty-One" episode of "Breaking Bad"; Lena Dunham, who collected the comedy series award for directing the pilot of "Girls"; and Jay Roach, who took the movies for television/miniseries prize for "Game Change" on HBO.

The evening's winner for documentary directing was Malik Bendjelloul, for the "Searching For Sugarman."

A lifetime achievement award was presented to "One Flew Over the Cuckoo's Nest" and "The People vs. Larry Flynt" director Milos Forman.

Host Kelsey Grammer kept the evening light, making jokes about Manti Te'o, Mel Gibson and Ron Jeremy, as well as some of the nominees in the room.

Grammer said to Bigelow, whose movie has been at the center of a controversy over forced interrogation, "Waiting so patiently to see if your name will be called, it must be torture for you."

All of the evening's feature directing nominees received a medallion from the DGA, most of them presented after an adoring speech. Martin Short, however, delivered Spielberg's medallion in an irreverent and sometimes bawdy address.

"I like my champagne like I like my women," Short said. "Compliments of the DGA."

When Spielberg stood to accept the honor--receiving the night's first full-house standing ovation--he reacted with amusement.

"When you tell your assistant to contact Marty about presenting you with the DGA medallion," Spielberg said, "You just assume she knows you're talking about Marty Scorsese."

ALSO

Academy doesn't follow the script in directors' race

Santa Barbara Film Fest sees itself as Oscar harbinger

Is 'Argo' poised to deliver a shocker at Directors Guild Awards?

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Meet the Man Who Designed BlackBerry’s New Phones

When BlackBerry set out to design the phones that would take the company into the next decade, it faced a big challenge. The flagship device of the new BlackBerry 10 platform needed to simultaneously satisfy what today’s customers want in a smartphone while at the same time stay true to the essence of BlackBerry — which, if the company’s market over the last few years is any indication, customers didn’t want.

The man tasked with redesigning BlackBerry phones was Todd Wood, the company’s senior vice president of design. Leading industrial design at BlackBerry since 2006, Wood is a veteran of industrial design, previously doing design work for Nokia and, before that, Nortel. Mashable sat down with Wood this week while he was in town for the BlackBerry 10 launch.

[More from Mashable: Here’s a Mysterious Image From BlackBerry’s Super Bowl Ad]

Wood speaks with the same thoughtfulness of other design leaders, such as Apple’s Jony Ive, but with none of the showiness. He’s been with BlackBerry (formerly Research In Motion) for long enough to see its fortunes rise and fall. As he describes the Z10, you feel that he’s heard enough praise and criticism about BlackBerry’s products that it all just bounces off.

[More from Mashable: Don’t Hold Your Breath for More BlackBerry Tablets]

When I bring up the BlackBerry Storm — the company’s previous (failed) attempt to create a touchscreen phone — Wood doesn’t bristle or even acknowledge the disaster it was. He simply describes certain design elements that a similar to the BlackBerry Z10, BlackBerry’s new flagship phone. And he makes them sound kind of cool.

“There’s still the ‘waterfall’ that was pronounced on Storm — these flowing surfaces,” Wood says as he points to the top and bottom of the Z10, which are ever-so-slightly sloped. “We’ve brought that with the margins [on the Z10], but it’s very subtle. There are some principles that we carry forward, but nothing’s been cut and pasted.”

As CEO Thorsten Heins described at the launch, BlackBerry faced a decision three years ago: adopt someone else’s mobile OS or go it alone. It opted for the latter, acquiring QNX software in 2010 and adapting it to build first the PlayBook, then BlackBerry 10.

Completely switching mobile platforms was risky and extremely challenging, but it was also a huge design opportunity, says Wood.

“We were starting the platform from scratch. We wanted to build on the design DNA [BlackBerry] had, and we wanted to keep certain attributes — the fit to face, fit to hand — the general comfort of the device, the build quality of the device.”

No Home Button

Key decisions about the device itself depended on how the software worked. There’s no home button on the Z10, for example — a user controls basic functions (like switching between apps) via gestures, such as swiping up from the edge of the screen.

Much of the design was influenced by the need for easy, one-handed operation.

“How can you design a system where you could multitask more elegantly?” Wood asks, rhetorically. “It’s not unlike shuffling cards. And we started to realize you can really do that with one hand and one thumb.

“Almost every phone has a UI paradigm of ‘You go home to go somewhere else.’ Here you can flow from app to app.”

Soft Touch Backside

The phone has a semi-rubberized back, a material that BlackBerry refers to as “soft touch.” The company has used it before — in the trim of the latest Bold smartphone, for example. But in the Z10, Wood’s team added a perforated pattern.

“Soft touch is a special coating that we use,” he explains. “It provides grip, and it’s very silky. What we did was add some microtexture to it, which is something that you don’t notice until you pick the phone up and run your hand across it. It’s a nice subtlety.”

Button Shapes

If you’ve ever thought the physical buttons on Samsung’s phones felt cheap, or the iPhone’s too bland, you’ll appreciate RIM’s contoured buttons for volume and media playback. The volume buttons have a slight notch on one side, and the play/pause button has a small upraised piece — all detectable by touch.

“We wanted to keep them really precise and clean,” says Wood. “We sculpted the keys so it’s always really apparent without looking, almost like braille, exactly where you are.”

Font

Wood also played a role in choosing the system font for BlackBerry 10, which is called Slate. Designed by Canadian Rod McDonald (who also designed the font for Maclean’s, one of Canada’s top national news magazines), BlackBerry chose Slate for its legibility, Wood says.

“Slate really works for screen and print, so we decided to adopt it. When you have such a high-res display, you get really accurate letterforms. When you have a really great font design, that improves productivity. You’re not squinting, and letters are not misinterpreted.”

The Q10

Of course, Wood also led the team that designed the Q10, the BlackBerry 10 phone with a physical QWERTY keyboard, coming about a month after the Z10 debuts. Although the Q10 borrows more design DNA from the BlackBerry of old, BB10 afforded some big departures as well.

For starters, the Q10′s keyboard is straight whereas most previous BlackBerry phone keyboards had a curve to them — which even led to the company calling one of its product lines the Curve.

“That is a big change,” Wood says of straightening out the keyboard for the Q10. “It was very logical, but also it signals ‘This is different.’ And there’s no performance tradeoff with it being straight — we’ve measured it.”

Besides being straight, the keyboard is larger than the ones on previous BlackBerry phones.

“What allows us to get that extra size is we’ve replaced the home key, the back key and the send/end keys, since everything in BB10 is controlled by gestures and direct manipulation of the data. Without the curve, each key is the same size, and they’re 3% larger.”

The Red LED

No BlackBerry phone would be complete without the trademark — and at times notorious — blinking red LED that indicates a message is waiting. Wood says the attribute is hard-wired into BlackBerry design at this point and at no point did the company consider ditching it.

“That’s probably the strongest, most iconic element of the DNA we carry forward,” he says. “It’s origins were ‘Let’s save on battery life,’ and it continues today. For us, we call it the spark, or the splat. It’s a hallmark of BlackBerry it makes some people excited, and it makes some people neurotic, but it’s up to end users to manage that.”

How do you like the design of BlackBerry’s new phones? Let us know in the comments.

BONUS: BlackBerry Z10 Review

Click here to view the gallery: BlackBerry Z10 Review

Lead image by Nina Frazier, Mashable

Images by Nina Frazier, Christina Warren and Pete Pachal, Mashable

This story originally published on Mashable here.

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Affleck's 'Argo' wins Directors Guild top honor

LOS ANGELES (AP) — Ben Affleck has won the top film honor from the Directors Guild of America for his CIA thriller "Argo," further sealing its status as best-picture front-runner at the Academy Awards.

Saturday's prize also normally would make Affleck a near shoo-in to win best-director at the Feb. 24 Oscars, since the Directors Guild recipient nearly always goes on to claim the same prize at Hollywood's biggest night.

But Affleck surprisingly missed out on an Oscar directing nomination, along with several other key favorites, including fellow Directors Guild contenders Kathryn Bigelow for "Zero Dark Thirty" and Tom Hooper for "Les Miserables."

Affleck's Oscar snub has not hurt "Argo" and may even have earned it some favor among awards voters as an underdog favorite. "Argo" has dominated other awards since the Oscar nominations.

"I don't think that this makes me a real director, but I think it means I'm on my way," said Affleck, who won for just his third film behind the camera.

The Directors Guild honors continued Hollywood's strange awards season, which could culminate with a big Oscar win for Affleck's "Argo." The guild's prize for best director typically is a final blessing for the film that goes on to win best-picture and director at the Oscars.

Affleck can go only one-for-two at the Oscars, though. While "Argo" is up for best picture, the director's branch of the Academy of Motion Picture Arts and Sciences overlooked him for a directing slot.

Backstage at the Directors Guild honors, Affleck said he had nothing but respect for the academy and that "you're not entitled to anything."

With 12 Oscar nominations, Steven Spielberg's Civil War saga "Lincoln" initially looked like the Oscar favorite over such other potential favorites as "Argo," ''Les Miserables" and "Zero Dark Thirty," since films generally have little chance of winning best picture if they are not nominated for best director. Only three films have done it in 84 years, most recently 1989's best-picture champ "Driving Miss Daisy," which failed to earn a directing nomination for Bruce Beresford.

But Affleck's "Argo," in which he also stars as a CIA operative who hatches a bold plan to rescue six Americans during the hostage crisis in Iran, has swept up all the major awards since the Oscar nominations. "Argo" won best drama and director at the Golden Globes and top film honors from the Screen Actors Guild and the Producers Guild of America.

Many of the same film professionals who vote in guild awards also cast ballots for the Oscars, so all the wins for "Argo" are a strong sign that the film has the inside track for best picture.

Milos Forman, a two-time Directors Guild and Oscar winner for "One Flew Over the Cuckoo's Nest" and "Amadeus," received the group's lifetime-achievement award. Guild President Taylor Hackford let the crowd in a toast to Forman, who was ill and unable to attend.

Malik Bendjelloul won the guild's documentary award for "Searching for Sugar Man," his study of the fate of critically acclaimed but obscure 1970s singer-songwriter Rodriquez. The film also is nominated for best documentary at the Oscars.

Jay Roach won the guild trophy for TV movies and miniseries for "Game Change," his drama starring Julianne Moore as Sarah Palin in her 2008 vice-presidential run.

Roach said that he watched John McCain rush to choose Palin as his running-mate, potentially putting her second in line for the presidency.

"I said, 'We gotta talk about this,'" Roach joked.

"Girls" star Lena Dunham earned the guild honor for TV comedy, while Rian Johnson won for drama series for "Breaking Bad."

Dunham won for directing the pilot of "Girls," which focuses on the lives of a group of women in their 20s.

"It is such an unbelievable honor to be in the company of the people in this room, who have made me want to do this with my life," Dunham said.

Filmmaker Alejandro Gonzalez Inarritu ("Babel," ''Amores Perros") won for best commercial for a Procter and Gamble spot he directed.

Among other TV winners:

— Reality program: Brian Smith, "Master Chef."

— Musical variety: Glenn Weiss, "The 66th Annual Tony Awards."

— Daytime serial: Jill Mitwell, "One Life to Live."

— Children's program: Paul Hoen, "Let It Shine."

Affleck's win Saturday nicks the Directors Guild record as a strong forecast for the eventual directing recipient at the Oscars. Only six times in the 64-year history of the guild awards has the winner there failed to follow up with an Oscar. This will be the seventh, since Affleck is not up for the best-director Oscar.

Peer loyalty might play in Affleck's favor at the Oscars. The acting branch in particular, the largest block of the academy's 5,900 members, might really throw its weight behind "Argo" because of Affleck's directing snub. Actors love it when one of their own moves into a successful directing career, and Affleck — who's rarely earned raves for his dramatic chops — also delivers one of his best performances in "Argo."

Affleck has had no traction in acting honors this season, and he's joked that no one considered it a snub when he wasn't nominated for best actor. So a best-picture vote for "Argo" might be viewed as making right his omission from the directing lineup and acknowledging what a double-threat talent he's become in front of and behind the camera.

A best-picture prize also would send Affleck home with an Oscar. The award would go to the producers of "Argo": George Clooney, Grant Heslov and Affleck.

But it's not as though Affleck has never gotten his due at Hollywood awards before. He and Matt Damon jump-started their careers with 1997's "Good Will Hunting," for which they shared a screenplay Oscar.

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AP Entertainment Writer Sandy Cohen contributed to this report.

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