Abegbe blog

InfoExpress Adds Hyper-V Support to its CyberGatekeeper Family of Network Access Control Products

To optimize computing resources, many customers are turning to virtualized server environments,” said Stacey Lum, CEO of InfoExpress. “CyberGatekeeper has numerous out-of-band enforcement methods, making it the ideal choice for customers looking to add NAC by leveraging their virtual computing environments without major infrastructure expenditures.”

By offering support on Hyper-V and VMware in addition to physical appliances, InfoExpress lets customers choose the appropriate NAC implementation that best meets their needs. For example, an organization with more users in one region can host the virtual appliance on a larger server. At smaller regions, the CyberGatekeeper virtual appliance can share a smaller server with other virtual servers. If needs change, increasing or decreasing the capacity of a virtual appliance is easy and requires almost no down time.

CyberGatekeeper is ideal for virtual environments and centralized deployments in distributed networks. With many out-of-band enforcement methods, CyberGatekeeper servers can be placed in data centers or other central locations. In contrast, in-line NAC solutions need to be located closer to routers and switches to block traffic and generally require more servers.

About InfoExpress CyberGatekeeperFor LANs, VPNs, and wireless networks in organizations ranging from large enterprises to SMBs, the InfoExpress CyberGatekeeper family of products controls network access by auditing all devices before granting access. The CyberGatekeeper solution is fully scalable and interoperates smoothly with a wide range of other products. The CyberGatekeeper appliance, now available as a virtual or physical server, can easily be deployed in monitor mode giving organizations the option to remediate endpoints “on the fly” without having to restrict access to users.

About InfoExpressInfoExpress network security solutions protect enterprise networks and the endpoints connecting to them. The company has provided Network Access Control solutions since 2000. At the core of InfoExpress solution is the award winning CyberGatekeeper Family of Network Access Control products, which ensures endpoints are safe and compliant with security policies by performing real-time audits and quarantining of all network-attached endpoints. InfoExpress products have received numerous awards for innovation. The privately held company has been profitable for 12 consecutive years and is headquartered in Mountain View, California. For more information, please visit .

The names of actual companies and products mentioned herein may be the trademarks of their respective owners.

###

Andrew MillerInfoExpress707-386-1193Email Information

The Situation to appear in D.C.

s disastrous Trump Roast stand-up act, “Jersey Shore” star Mike “The Situation” Sorrentino is coming to D.C., and perhaps he’ll even talk politics.

The Situation, who delivered a heavily booed performance at last week’s Comedy Central event for conservative billionaire Donald Trump, is not the first “Jersey Shore” cast member to venture to the nation’s capital. Nicole “Snooki” Polizzi traveled to the District earlier this year for the Washington Auto Show. Jenni “JWoww” Farley and Paul “DJ Pauly D” DelVecchio of “Jersey Shore” have also made appearances in D.C.

At this year’s Trump Roast, The Situation took numerous jabs at Trump, who many believe will campaign for a 2012 Republican presidency.

“People that hatin’ on [Trump] because [he]is always firing people, but it’s kind of okay because he completely let himself go anyway,” The Situation said during Trump Roast, inciting jeers and hoots from an an unamused crowd. “You know what, Donald? You got the tan, you got the laundry down, but you gotta hit the gym porkchop…But Donald, I like how you roll. I’ve seen pictures of your house, everything in your house is gold. Who the f— decorated your house, Flava Flav’s dentist? I’ll say this, though. Your wife is hot.”

Will The Situation be more popular at Friday’s event than he was at Trump Roast? Time will tell. The Situationon March 25 from 9pm to 3 am, and tickets are on sale for $20.

Read more stories from The Daily Caller

Johnson tells England to relish 'hostile' Cardiff

BAGSHOT, England (AFP) – Martin Johnson has urged his players to embrace "the most hostile atmosphere in the Six Nations for an Englishman" when they begin their quest to win the tournament away to Wales on Friday.

England's last three visits to Cardiff's Millennium Stadium have all ended in defeat and another reverse will deal a major blow to their hopes of winning a first Six Nations title since the Grand Slam in 2003 -- when team manager Johnson was captain of a side that also lifted the World Cup later that year.

"The Millennium is a great place to play, the stadium being in the middle of Cardiff, and it's the most hostile in the Six Nations for an Englishman," Johnson told reporters at the squad's training base here on Monday.

Johnson said he wanted his men to feed off the anti-English sentiment that is never far from the surface when the men in white shirts arrive in Wales.

"Being an Englishman in Cardiff on that weekend means you aren't the most popular, which is great. I'd rather have that than polite indifference," the former lock added.

"They (Wales) want to beat England at rugby -- that is not a secret and we want to win down there. It is a good occasion. We have to be ready when we do go and play. You want to play in the big games."

Not since Johnson was captain have England won in the Welsh capital and up to a third of the side, including Ben Foden, Ben Youngs and Dan Cole, are in line to be playing their first Test at the Millennium Stadium.

"It is a great occasion for an Englishman to go to Cardiff and play," said Johnson, aiming to lead England to a third successive World Cup final in New Zealand later this year.

"The opening game of the tournament in a World Cup year adds something.

"You have to enjoy it. You want to play in the big games. We have to be ready," Johnson insisted.

Northampton wing Chris Ashton, who also is in line to play his first Test in Cardiff, said it was the prospect of matches such as Friday's clash between two of rugby union's oldest rivals that persuaded him to switch from rugby league back in 2007.

"It was a massive part of it," Ashton explained.

"This doesn't happen in rugby league, you don't get these kind of games. It's massively exciting, I can't wait," added Ashton, whose dramatic length of the field try against Australia at Twickenham in November was named Monday as the International Rugby Players' Association's try of the year for 2010.

New Rugby Football Union (RFU) chief executive John Steele has effectively set England a target -- or "realistic expectation" -- of a top-two finish in the Six Nations.

England's failure to win the Championship since 2003 has rankled their fans and delighted their opponents as, with the exception of title-holders France, no other European nation can match their playing resources

"In that time (since England won it last) not many favourites have gone on to win it," Johnson reflected.

"In 2003 the opening game was England v France and everyone said it was the only game in town -- why are you playing it first?

"But we ended up with a grand slam decider in the final game. Wales twice and Ireland once have won the grand slam since then, as have France.

"The field has come together quite a bit and Scotland are in the mix. In terms of picking a favourite right now -- who knows?"

England, in the absence of injured flanker Lewis Moody, are set to be captained by Mike Tindall although Johnson will not confirm either his skipper or his side until Wednesday's team announcement.

Tindall's thigh problem forced him to return home early from last week's training camp in Portugal but the World Cup winning centre resumed training Monday and is expected to be fit to face Wales.

Wonder Woman: A Sneak Peek at David E. Kelley's Script

NEW YORK – The Daily Beast obtained a draft of the pilot script for David E. Kelley’s pilot Wonder Woman. Jace Lacob picks eight crazy bits from the jaw-dropping script.

When considering DC Comics’ legendary comic book icon , the name that comes to mind isn’t writer/producer , known for his television legal dramas such as Ally McBeal, The Practice, Boston Legal, and currently the Kathy Bates-led .

So it surprised many in the television industry—and Wonder Woman-loving comics readers, too—that Kelley was given the go-ahead by studio Warner Bros. Television to develop a take on the lasso-happy Amazonian warrior. After all, several attempts to adapt Wonder Woman, which had also famously been a successful 1975-1979 ABC and CBS series —including a —had fallen flat. And Kelley’s expertise—talky legal dramas—doesn’t seem at first glance to lend itself to the superhero genre. Reportedly, every major broadcasteron Kelley’s Wonder Woman project untiland ordered a pilot late last month.

The Daily Beast has obtained a copy of Kelley’s draft of the Wonder Woman pilot script, dated December 16, 2010—and it’s laughably bizarre. In Kelley’s vision, Wonder Woman is presented as a weepy career woman-slash-superheroine with three identities (Wonder Woman; Diana Themyscira, the chairman of Themyscira Industries; and mousy assistant Diana Price) to juggle.

The pilot episode, which Kelley notes is designed to run “without commercial interruption,” revolves around Los Angeles-based mega-billionaire Diana—who collects planes and a multitude of transforming aircraft called “Ultimates” (no invisible plane in sight here)—as she attempts to take down an evil pharmaceutical company run by morally corrupt scientist Veronica Cale, who is mass-producing a human-growth hormone that is causing its users, mostly black inner city youth, to die. Along the way, she tackles criminals, a Senate subcommittee, and a broken heart, the latter courtesy of lost love Steve Trevor.

Managing to be both cloying and tragically un-hip, Kelley’s Wonder Woman script seems an about-face for this . Merchandise meetings and legal jargon jostle uncomfortably with superheroics, pajama parties with saving the world.

The result is a Wonder Woman who is more like Kelley’s Ally McBeal than the feminist superhero who stands side-by-side with her fellow DC icons Superman and Batman. This is a woman whose feelings are hurt by people commenting on her breast size, who is looking for love in all the wrong places, and who wants to have it all! (No sign of a unisex bathroom yet but other Kelley tropes seem liberally scattered throughout the script. Fortunately, there’s no dancing baby.) But the stilted dialogue and bizarre narrative conceits pale in comparison with some of the sacrilege being committed here.

What follows are eight of the most head-scratching moments from the pilot script.

One

Pages 3-6: Buffy this isn’t: Diana’s first appearance, here in her guise as Wonder Woman, is a Hollywood Boulevard-based action sequence set, cringingly, to the outdated tune of Beyoncé’s “Single Ladies,” the first of many musical cues—including tracks by Lady Gaga and Kanye West—in the script, all of which seem to prove that a) Kelley is a few years behind the times, and b) he watches a lot of Glee, since nearly all of these songs have been covered by the show choir. We’re meant to see Diana as a fierce female warrior, lasso of truth at her side, as she takes down a fast-moving suspect, but there’s a weird juxtaposition between attempts at humor and plodding “action.”

Two

Pages 8-14: The first of many lengthy heart-to-hearts between Diana and her press secretary, Myndi [sic], that’s meant to play as though the two are long-lost sisters who gab about boys in between high-powered meetings. Here, there’s the additional opportunity for gratuitous skin, as Diana takes a long, hot shower before she opens up about long-lost love Steve Trevor, now a lawyer in the Justice Department. (Wait, really?) Despite the alleged feminist undertones, Kelley uses the scene as an opportunity to dissect Diana’s love life and engage in some stereotypical banter about much-needed makeovers (alter ego Diana Prince is rather mousy because she has brown eyes, apparently, and doesn’t style her hair well) and Myndi asks her how the women of Themyscira have babies. No surprise that war hero Steve Trevor has been redesigned as a lawyer here. You didn’t really think Kelley would do a show without a single member of the legal profession in the mix, did you?

Three

Page 14: The irritating conceit of Diana having three identities gets even more irksome when it appears that she has not one but two places of residence, including a poky West L.A. apartment. But the kicker is that this single lady has a cat named, of all things, Desi, leading Diana to engage in a ridiculously hacky I Love Lucy reference that would cause Lucille Ball to turn over in her grave. If this is what passes for cutting-edge humor and pop culture references these days, television has a serious problem on its hands.

Four

Pages 26-28: One of the most gasp-inducing moments in the script is when Diana has a meeting about the “Asian Wonder Woman” doll that her company is about to go into production on. Yes, Wonder Woman admits to being uncomfortable with the doll’s ample anatomy, leading to a discussion of the size of her breasts and how people are let down when they see her in the flesh. But she seems to understand that the merchandise division helps pay for crime-fighting. “Big tits save lives!” she says, joking, I think. (Yes, read that bit again for good measure.) But the image-conscious Diana draws the line at a fat Wonder Woman. Har har. If you thought this laughable script was missing fat jokes, well, now you’ve got them.

Five

Pages 29-31: Themyscira Industries employs an in-house evidence team known as “The Animals” who work in an area called “The Dungeon.” The twentysomethings here—including Austy, Jennie, and Ryan—dance around to Kanye West’s “Golddigger” when they’re not making sexually provocative comments toward their employer. A comment about boning up on Diana’s rival Veronica Cale results in Austy making a comment about how he’d “Bone you up right now, boss.” (A page later, he admits to having “Chlamydia” when asked if the group has “anything else.”)

But the worst has got to be the way Diana addresses the group, saying, “OK, class, we got ‘bidness.’” Just ick. Wonder Woman as a woman trying to understand “man’s world” from her vantage point as an outsider is one thing, but the way that Kelley is painting her, alternately vain, self-absorbed, weepy, and so desperately trying to be cool is a major turn-off on every page. Let’s not forget that she is one of the world’s pre-eminent superheroes, not a middle-aged white man out of touch with pop culture. The only thing missing from this cringe-worthy portrait is for her to break into a freestyle rap.

Six

Pages 38-47: In the script’s most painful sequence, Diana is subpoenaed by the Senate Judiciary Committee and forced to give testimony about the events in Hollywood. She ends up filibustering about everything under the sun for several pages: the politics of the LAPD (name checking ex-police chiefs Daryl Gates and William Bratton), the economy, stimulus funds, pharmaceutical companies, Roger Clemens, the FDA and the FCC, and how networks will air commercials about erectile dysfunction but not for condoms. It’s clearly meant to be a showcase scene for the actress playing Diana, a calculated bid at awards and social relevance. Congratulations, David E. Kelley, the transformation of Wonder Woman from superhero to personal mouthpiece is now complete. Adding further insult to injury: real-life California Senator Dianne Feinstein is described as giving Diana a thumbs-up.

Seven

Pages 47-50: Diana goes weak in the knees when Steve Trevor turns up in D.C., proving stereotypically that she’s not invulnerable, after all, when it comes to—ugh—matters of the heart. Despite the fact that both have moved on, there is obvious unresolved history here, after four years apart. The fact that they meet cute outside her Senate hearing is somewhat icky, but the forced nostalgia here, supposedly buoyed by the numerous flashbacks to their time together, fails to hit the mark. Cloying and predictable, this storyline seems to belong in another show altogether.

Eight

Pages 61-66: Diana and Myndi have a “sleepover,” complete with ice cream (“It’s been a three-scoop day”) as they watch Katy Perry’s sexually suggestive Wonder Woman homage music video and “scream like schoolgirls.” Later, Diana glimpses her original costume in the closet (the Lynda Carter one!) and sadly stares at a picture of herself and Steve in happier times, before crying herself to sleep.

It’s meant to paint Diana as remarkably human, but it again serves to undercut the character, making her appear weak and weepy. It’s overkill as we already see how much Diana is affected by the lack of romance in her life, but turning her into a single girl with a Mr. Big complex seems a step way too far. We want our superheroes to be strong but human, but seeing Diana like this so early on, potentially destroys any appeal the viewer might have for her. It is another monumental misstep by Kelley, as well as a complete disconnect with the legacy and strength of this enduring character.

Plus: .

Jace Lacob is The Daily Beast's TV Columnist. As a freelance writer, he has written for the Los Angeles Times, TV Week, and others. Jace is the founder of television criticism and analysis websiteand can be found onandfor updates all day long.

For inquiries, please contact The Daily Beast at .

USA TODAY BEST-SELLERS

Key: F-Fiction; NF-Nonfiction; H-Hardcover; P-Paperback

1. "The Girl With the Dragon Tattoo" by Stieg Larsson (Vintage) (F-P)

2. "Shadowfever" by Karen Marie Moning (Delacorte Press) (F-E)

3. "The Girl Who Played With Fire" by Stieg Larsson (Vintage) (F-P)

4. "Awakened" by P.C. Cast and Kristin Cast (St. Martin's Griffin) (F-H)

5. "Unbroken" by Laura Hillenbrand (Random House) (NF-H)

6. "The Girl Who Kicked the Hornet's Nest" by Stieg Larsson (Knopf) (F-H)

7. "Water for Elephants: A Novel" by Sara Gruen (Algonquin) (F-E)

8. "The Hunger Games" by Suzanne Collins (Scholastic Press) (F-P)

9. "The Confession" by John Grisham (Doubleday) (F-H)

10. "Strategic Moves" by Stuart Woods (Putnam Adult) (F-H)

11. "Catching Fire" by Suzanne Collins (Scholastic Press) (F-H)

12. "Mockingjay" by Suzanne Collins (Scholastic Press) (F-H)

13. "Heaven is for Real: A Little Boy's Astounding Story of His Trip to Heaven and Back" by Todd Burpo, Sonja Burpo, Colton Burpo and Lynn Vincent (Thomas Nelson) (NF-P)

14. "Call Me Irrestible: A Novel" by Susan Elizabeth Phillips (William Morrow) (F-E)

15. "The Inner Circle" by Brad Meltzer (Grand Central Publishing) (F-H)

16. "Live to Tell: A Detective D.D. Warren Novel" by Lisa Gardner (Bantam) (F-P)

17. "What the Night Knows: A Novel" by Dean Koontz (Bantam) (F-H)

18. "Diary of a Wimpy Kid: The Ugly Truth" by Jeff Kinney (Amulet Books) (F-H)

19. "Deliver Us from Evil" by David Baldacci (Grand Central Publishing) (F-P)

20. "Decision Points" by George W. Bush (Crown) (F-H)

21. "Cutting for Stone" by Abraham Verghese (Knopf) (F-E)

22. "How to Woo a Reluctant Lady" by Sabrina Jeffries (Pocket Star) (F-P)

23. "Winter Garden" by Kristin Hannah (St. Martin's Griffin) (F-P)

24. "The Help" by Kathryn Stockett (Putnam Adult) (F-H)

25. "Cross Fire" by James Patterson (Little, Brown) (F-H)

26. "Dead or Alive" by Tom Clancy and Grant Blackwood (Putnam Adult) (F-H)

27. "Deja Vu" by Fern Michaels (Zebra) (F-P)

28. "The Lost Symbol" by Dan Brown (Anchor) (F-P)

29. "The Investment Answer" by Daniel C. Goldie and Gordon S. Murray (Business Plus) (NF-H)

30. "The 4-Hour Body: An Uncommom Guide to Rapid Fat-Loss, Incredible Sex, and Becoming Superhuman" by Timothy Ferriss (Crown Archetype) (NF-H)

31. "Sexy Forever: How to Fight Fat after Forty" by Suzanne Somers and Michael Galitzer (Crown Archetype) (F-H)

32. "The Lost Hero" by Rick Riordan (Disney-Hyperion) (F-H)

33. "Room: A Novel" by Emma Donoghue (Little, Brown) (F-E)

34. "Battle Hymn of the Tiger Mother" by Amy Chua (Penguin Press) (NF-H)

35. "The 7: Seven Wonders That Will Change Your Life" by Glenn Beck and Keith Ablow (Threshold Editions) (NF-H)

36. "From the Heart" by Nora Roberts (Jove) (F-P)

37. "The Sentry" by Robert Crais (Putnam Adult) (F-H)

38. "Secrets to the Grave" by Tami Hoag (Dutton Adult) (F-H)

39. "The Scent of Jasmine" by Jude Deveraux (Pocket) (F-P)

40. "Little Bee: A Novel" by Chris Cleave (Simon & Schuster) (F-P)

41. "House Rules" by Jodi Picoult (Washington Square Press) (F-P)

42. "Breaking Dawn" by Stephanie Meyer (Little, Brown Books for Young Readers) (F-P)

43. "The Other Daughter" by Lisa Gardner (Bantam) (F-E)

44. "Promise Canyon" by Robyn Carr (MIRA) (F-P)

45. "Witch & Wizard: The Gift" by James Patterson and Ned Rust (Little, Brown Books for Young Readers) (F-H)

46. "Cleopatra: A Life" by Stacy Schiff (Little, Brown) (NF-H)

47. "The 5 Love Languages: The Secret to Love That Lasts" by Gary Chapman (Moody Publishers) (NF-P)

48. "The Imperfectionists: A Novel" by Tom Rachman (The Dial Press) (F-E)

49. "Safe Haven" by Nicholas Sparks (Grand Central Publishing) (F-H)

50. "The Immortal Life of Henrietta Lacks" by Rebecca Skloot (Crown) (NF-E)

Reporting stores include: Amazon.com, B. Dalton Bookseller, Barnes & Noble.com, Barnes & Noble Inc., Books-A-Million and Bookland, Booksamillion.com, Borders Books & Music, Bookstar, Bookstop, Brentano's, Davis Kidd Booksellers in Nashville, Jackson, Memphis, Tenn., Doubleday Book Shops, Hudson Booksellers, Joseph-Beth Booksellers (Lexington, Ky.; Cincinnati, Cleveland), Powell's Books (Portland, Ore.), Powells.com, R.J. Julia Booksellers (Madison, Conn.), Schuler.