What used to be primarily a supply market is becoming the epicenter of demand growth from LNG exports, which in turn are making the state the most desirable destination market for U.S.
Today, we continue our series on the Louisiana market transformation with a detailed look at the infrastructure and gas flow trends already underway, starting with what’s going on in the eastern half of the state.Īs we laid out in Part 1 of this series, the Louisiana market is in the midst of a significant transformation. These factors will disrupt existing flow patterns and pricing relationships in the region over the next two or three years, eventually turning the market entirely on its head. The party… with the pants.īuy now from Amazon 8.The supply-demand dynamic in Louisiana - and around the national benchmark pricing location Henry Hub - is rapidly changing, with LNG exports providing a new demand source in the state and both producers and midstreamers in high gear to push more supply there. Never seen it? Resisted watching it because you were worried it wouldn't live up to the hype? We invite you to the pants party. When endlessly quote-worthy dialogue enters everyday conversation (as it has at Empire Towers), you know it's something special. Though it may not have made a huge impact at the box office, some films are destined to grow from humble beginnings into cult behemoths. So much footage was shot that an entire (funny) bonus film was created from alternate scenes and discarded subplots, handily released as Wake Up, Ron Burgundy: The Lost Movie, and what was winnowed to appear in the main film is barmily brilliant. Adam McKay and Will Ferrell's rambling, surreal and dementedly illogical film doesn't sound on paper like it would have such a consistently high hit rate for its gags, but astute work on both sides of the camera see to that. Ring Lardner won the film’s only Oscar for his screenplay, despite having complained that not a word of it was filmed. The film’s ‘structure’, essentially splitting neatly into four episodes, pointed to the way to future television success – which Altman refused to have anything to do with. Fox were horrified when the finished product was delivered, but cheered up when it was a hit. Hence he got away with the anarchic, loosely plotted, much improvised, barely organised counter-culture shambles that we now know and love. Based on a successful novel, it was a big-ish deal, but with the suits at Fox more concerned with two other war films shooting at the same time – Patton and the exceptionally troubled Tora! Tora! Tora! – what Altman was doing went largely under the studio radar. MASH wasn’t Robert Altman’s first film, but it was arguably the first one anyone noticed. Jerry Lewis, Rowan Atkinson), this has never been bettered, a perfect comedy meandering along despite the lack of anything resembling a real plot. Hulot innocently causing havoc and misery to all around him as he enjoys a welcome break at the seaside. Perhaps that's because it's a classic, with Jacques Tati's beautifully drawn M. An almost silent film made in the 1950s, a pure slapstick farce with a blithely oblivious central buffoon, this film must have seemed anachronistic even before the prints were developed.