Log in to rate Trip Reports for this trail, below When the snow flies at Rainier, its your chance to explore a section of the Wonderland in a new way. This section of the Wonderland Trail, leaving from Longmire, offers a relatively safe moderate snowshoeing experience.It is a quiet route, and there is often enough foot traffic that the trail will be packed down and easy to follow. Whether the route has been packed down or not, you'll need a map to give you an idea of where the trail goes. The section of trail that meanders through the Trail of the Shadows and up the switchbacks on the Wonderland is relatively safe, but it's always good to be on the lookout for signs of avalanche danger.Snowshoeing up to Carter or Narada Falls or even simply the banks of the Nisqually is also a good option. Crossing the river on the footlog can be a little scary for beginner (or even advanced) snowshoers, so be sure to evaluate the weather and the snow conditions as you hike along. Hiking to Narada Falls runs to 7.5 miles round trip, but of course, go as far as you are comfortable, and don't push yourself or your group past your capabilities.

From Tacoma, drive east on State Route 7 to Elbe, then veer left onto SR 706 to enter the park at the Nisqually Entrance near Ashford. Continue east to Longmire. Park in the large lot behind the hotel, and find the trailhead on the south side of the road. More ways to give » Subscribe to our free email newsletter for hiking news, events, gear reviews and more. Hike of the Week Sitting in the heart of the Salt Creek Recreation Area, Striped Peak is brimming with tidepools, rocky bluffs, and coastal scenery. The payoff for the 1,166 summit? Panorama views of the Strait of Juan de Fuca, Vancouver Island, and the Cascade Mountains. Prepare for WTA's Backcountry Trip Registration 2017 Legislative Priorities: Funding for Trails, Getting the Next Generation Outdoors Clean, Protect and Waterproof Your Gear How to Apply for a Youth VacationA little girl is born; her parents name her Riley. Bending down over her bassinet, mom and dad gaze into their new baby’s eyes.

Inside Riley’s head—her Headquarters—five fledgling emotions gaze back. They’re gathered at an elaborate control console, ready to begin their job, which will of course last a lifetime. Inside Out is a return to classic form for Pixar Animation Studios, and a storytelling triumph for Pixar star Pete Docter (who also directed Monsters, Inc. and Up, and cowrote Toy Story and WALL-E). Working with writers Ronnie Del Carmen, Meg LeFauve, and Josh Cooley, Docter has fashioned a tale that’s dizzyingly inventive, filled with daffy situations, crackerjack lines, and moving truths about human nature. The movie is an all-ages marvel. As Riley grows happily toward adolescence in suburban Minneapolis, her Headquarters is dominated by blue-haired Joy, a manic optimist (“Find the fun!”). But Joy (voiced with whiplash precision by Amy Poehler) struggles to control her fellow emotions: gloomy Sadness (Phyllis Smith), fidgety Fear (Bill Hader), acid-tongued Disgust (Mindy Kaling) and hot-headed Anger (Lewis Black).

Joy manages to maintain a sunny outlook for Riley (Kaitlyn Dias) for 11 years—until one day her mother (Diane Lane) and father (Kyle MacLachlan) announce a move to San Francisco, where dad has a new job waiting. Suddenly, trouble clouds move in. Pixar is based in the Bay Area, and it’s amusing to find that the San Francisco we see here is a little grim. kata sling backpack 3n1-22There are hellish traffic jams (“These are my kind of people!” backpack cewek 50 ribuAnger exults), and Riley’s new house is dark and unwelcoming. sniper backpack acmJoy helps Riley make the best of it, but when she and Sadness are suddenly drawn away from Headquarters and out into the wilder regions of Riley’s mind, the remaining emotions take over, with chaotic results.swissgear lancer laptop backpack

The movie keeps us fully briefed on Riley’s new life, but most of the action takes place inside her head, where her accumulating memories roll into Headquarters in the form of glowing, bowling-ball-size globes. Ranged around outside the Headquarters tower are a series of islands representing aspects of Riley’s developing personality: Friendship Island, Honesty Island, the delirious Goofball Island. xara backpackWhen Fear, Disgust, and Anger are left to man the Headquarters controls, the islands begin to tremble. frog backpack chlorineWill Joy and Sadness make it back in time to avert disaster?belkin backpack egypt Hopping aboard a Train of Thought, these two soon find themselves passing through places like Long Term Memory, the wacky world of Abstraction, and the scary depths of the Subconscious.

Their adventures in these realms are rendered in the sleek, hyper-saturated Pixar style, every gesture and burst of action worked out in dazzling detail. And the movie’s emotional design is also trademark Pixar. At one point, Joy and Sadness encounter an Imaginary Childhood Friend named Bing Bong (Richard Kind), who’s part elephant and part dolphin—and who realizes that he’s slowly being forgotten by his onetime real-world pal. In the spirit of taunting puppies and stomping kittens, I would also say that the adventures of Joy and Sadness are sometimes overextended—toward the end, the colorful pandemonium occasionally begins to wear. But that’s a minor nit to pick in a movie whose sole flaw is that it might be too much of a good thing. Who killed Kurt Cobain? The official verdict is: he did. Sometime around April 5, 1994, the Nirvana leader injected himself with a massive overdose of heroin at his Seattle home and then used a shotgun to finish the job. Almost immediately after Cobain’s body was discovered, on April 8, Seattle police announced that he had committed suicide.

But 21 years later, a large and vocal contingent of Nirvana fans and true-crime aficionados continues to insist that Cobain was murdered, in a scheme overseen by his wife, Hole leader Courtney Love, who feared that her husband was about to divorce her and write her out of his will. This version of events has already been probed by Nick Broomfield in his 1998 documentary Kurt & Courtney. Now, in the new film Soaked in Bleach, first-time director Benjamin Statler revisits the case, once again with ambiguous results. The story is still provocative, but Statler has nothing new to add to it. Statler relies heavily on the assertions of Tom Grant, the private investigator Courtney hired to find Cobain after he disappeared from a Los Angeles rehab facility just days before his body was found. Grant, also featured in Broomfield’s documentary, is this film’s main talking head, as well as a character (played by actor Daniel Roebuck) in its many reenacted scenes. If the picture made any gesture in the direction of objectivity (not that there’s any reason it should have to), these scenes would undermine it.

They’re clearly scripted, with the faux Grant and Courtney (Sarah Scott, in a diaphanous negligee) conversing at length in her bedroom. Since these conversations are undocumented, we have only Grant’s word that they happened the way he says they did. (Although when he claims that Courtney was either doing drugs or on drugs whenever he spoke to her, this is instantly believable.) Grant taped all of his phone conversations with Love. Some of them rouse suspicions, and none of them stir any sympathy for her. (Brash and blowsy, she is, shall we say, a divisive music-scene figure.) However, when one tape is played twice so that we can hear Courtney saying, “The people I had do this, I paid,” we immediately realize that she’s not talking about Cobain’s death—the line has been hammered home to thicken the film’s atmosphere of dark treachery. Similarly, interviews with old friends of Cobain in his home town of Aberdeen, Washington, tell us very little. One of these friends says he never thought of Cobain as suicidal (“He always seemed happy”)—but then that was long before he and his band were swamped by stardom.

With its rainy nightscapes and other film-noir flourishes, Statler’s picture plays like a minor homage to Errol Morris’s true-crime classic The Thin Blue Line. But that movie got a man off death row. Despite the torrent of innuendo directed at Love and one of Cobain’s friends and one employee, nothing is nailed down (which hasn’t dissuaded Love from having cease-and-desist orders served on theatres planning to screen the film). The only direct hit the picture lands is on the Seattle Police Department, which—among several things—took a month to process Cobain’s shotgun for fingerprints, and never even developed four rolls of film used to photograph the crime scene. The SPD now says it did reexamine the evidence in the case last year, and it finally developed that film (although not all of the resulting photos have been made public). When forensic pathologist Cyril Wecht, best known for his assault on the Warren Commission’s Kennedy-assassination report, weighs in here to call for a reinvestigation of Cobain’s death—and to urge that Seattle police play no part in it—it’s hard not to see this as the best way to deal with the public doubts that still linger after all these years.