#so was presumably there for the initial audience of newspaper readers

[daydreamerdrew]

Famous Funnies (1934) #6

#hmm #the first three stories say ‘continue on next page’ at the end #and the last one says ‘continued next month’ #but the stories are in the completely wrong order #I’m not sure how that happens #I assume that those statements on the last panel were added to the stories for them being reprinted in Famous Funnies #because the first panel of each story explains where the last one left off #which I don’t need because I just read them a second before getting to that one #so was presumably there for the initial audience of newspaper readers #meaning that before these stories were reprinted in these comic books in batches of four #they were printed on their own either daily or on Sundays #so there would not have been a ‘continued on next page’ #maybe whoever put the comic strips together for the reprint didn’t read the stories themselves #eastern color printing company #jane arden #my posts #comic panels

[dwellordream]

“The fantasy of a woman exhibiting and disciplining another woman’s body attained its most spectacular form not in the visual images but in the printed pages of England’s leading fashion magazine. In 1868, almost every fashion plate in the Englishwoman’s Domestic Magazine included a girl alongside two adult women, and that same year a debate raged in letters to the editor about whether parents, especially mothers, should use corporal punishment to discipline children, particularly girls past puberty. The fashion plate’s image of the quietly contained, fashionable girl who worships her female elders became a story of unruly daughters and stern mothers. The fashion image’s obsession with dressing and covering the body became the reader’s drive to expose it; the proud mien of the plate’s figures mutated into narratives of humiliation and shame. 

Only one element remained constant from image to text: the world in which both rituals were staged was dominated by female actors and objects. “I put out my hands, which she fastened together with a cord by the wrists. Then making me lie down across the foot of the bed, face downwards, she very quietly and deliberately, putting her left hand around my waist, gave me a shower of smart slaps with her open right hand. . . . [R]aising the birch, I could hear it whiz in the air, and oh, how terrible it felt as it came down, and as its repeated strokes came swish, swish, swish on me!” This description of a girl being birched by a woman first appeared in an 1870 supplement to the Englishwoman’s Domestic Magazine that extended a debate about corporal punishment raging in the journal since 1867. 

Editor Samuel Beeton justified publishing the monthly supplements, each consisting of eight large, double-columned pages of small type, by citing the overwhelming volume of letters received on a topic “which, of late years,” had “aroused . . . intense, not to say passionate interest.” Beeton priced the supplement at two shillings and made it available by post, thus guaranteeing its accessibility to middle-class readers. Like the Englishwoman’s Domestic Magazine, a respectable family publication that advertised in the pages of Cobbin’s Illustrated Family Bible, the supplement presumed an audience of housewives who would be drawn to its advertisements for Beeton’s Book of Home Pets and The Mother’s Thorough Resource Book.

The Englishwoman’s Domestic Magazine, as its title announced, was aimed at the middle-class women whose homes defined the nation. By the 1860s, the thirty-two-page monthly cost sixpence and reached roughly 50,000 readers per issue. With two color fashion plates in each issue, a republican editor who supported women’s employment and suffrage, and articles on “The Englishwoman in London,” “Great Men and Their Mothers,” and “Can We Live on £300 a Year?” the journal combined fashion, feminism, and thrift. Fashion magazines had always had heterogeneous content—astronomer Mary Somerville first encountered algebra while reading “an illustrated Magazine of Fashion”—and the Englishwoman’s Domestic Magazine prided itself on being learned and political as well as practical and stylish.

The magazine had both women and men on its staff, and Isabella Beeton codirected it with her husband until her death in 1865, soon after she completed a best-selling opus on household management. The publication of correspondence revealing women’s preoccupation with corporal punishment and its overlap with pornography might surprise us today, but only because we erroneously assume that Victorians imagined women and girls to be asexual unless responding to male initiative. Victorians themselves did not set such limits on female desire, and many found the letters on corporal punishment published in the eminently respectable Englishwoman’s Domestic Magazine provocative, with their use of onomatopoeia, teasing delay, first-person testimony, and punning humor, all typical of Victorian pornography.

A letter from “A Happy Mother,” published in 1869, explained that the author put cream on her children before whipping them, so that punishing them produced whipped cream: “I scream—ice cream.” Some readers denounced the correspondence as indelicate and indecent, warning that it might arouse male readers, and accusing women who flogged children of improper motives. In the 1870 supplement, a “mother” worried about how a gentlemen might respond to finding an otherwise “useful” publication marred by “immodest” descriptions of punishments by “ladies.” One letter fulminated against “people who take pleasure in giving . . . exact details of the degrading way in which they punish their children.” 

A correspondent signing “A Mother Loved By Her Children” condemned “the indelicacy in which every disgusting detail is dwelt on” by a woman who described a punishment she had received from another woman. “A Lady” protested “the offence to decency and propriety in publishing vulgar details” about “the removal of clothes and ‘bare persons.’” Readers who protested the indecency of the letters recognized that reading about punishment could provoke sexual sensations in both men and women. The voluminous correspondence began as a short query in 1867: “A Young Mother would like a few hints—the result of experience—on the early education and discipline of children.” The first two published responses opposed whipping, arguing that mothers who resorted to physical punishment would lose the self-control needed to discipline children properly.

Though Beeton himself opposed corporal punishment, he published many letters in favor of it. The debate quickly became more specific: whether it was proper for adult women to punish girls, especially those past puberty, by whipping them on the “bare person.” Whether writing for or against corporal punishment, correspondents provided detailed accounts of inflicting, receiving, and witnessing ritual chastisements in which older women restrained, undressed, and whipped younger ones. Letters described mothers, aunts, teachers, and female servants forcing girls and young women to remove their drawers, tying girls to pieces of furniture, pinning back their arms, placing them in handcuffs, or requiring them to count the number of strokes administered. 

…Corporal punishment is where pornography, usually considered a masculine affair, intersects with fashion magazines targeted at women. Both types of publications were mass-produced commodities that created an aura of luxury, and both depended on the relative democratization inherent in an economy organized around consumption and leisure. Pornographic publications and monthly women’s journals had similar formats: both combined short stories, poems, historical essays, serial fiction, current events, and letters to the editor; both featured detachable color prints that could be sold separately; and both released special Christmas issues. Their common interest in corporal punishment led to even more concrete links between pornography and fashion magazines. 

John Camden Hotten, the publisher of many pornographic works, advertised a pseudoscientific study of Flagellation and the Flagellants in the supplement to the Englishwomen’s Domestic Magazine. Other pornographic publications actually reprinted verbatim material first published in fashion magazines. In his exhaustive bibliography of pornography, Henry Spencer Ashbee mentioned the “remarkable and lengthened correspondence” about flagellation in “domestic periodicals” alongside his discussion of flagellation in “bawdy book[s]” such as Venus School-Mistress and Boarding-School Bumbrusher; or, the Distresses of Laura. The Englishwoman’s Domestic Magazine was more available to women readers than pornography, but Victorian pornography was not the exclusively male province it is often assumed to be.

Like the fashion press, pornographic literature expanded during the middle decades of the nineteenth century; between 1834 and 1880, the Vice Society confiscated 385,000 prints and photographs, 80,000 books and pamphlets, and 28,000 sheets of obscene songs and circulars. Who wrote and read pornography remains a mystery: publishers falsified dates and places of publication; authors wrote under pseudonyms; and individuals left few public traces of their purchases and reading experiences. The scant evidence we have suggests that pornography was a predominantly but not entirely male domain. 

Newspapers reported women publishing and selling obscene books and texts; one woman has been documented as the author of a French pornographic novel that circulated in England; and women of all classes frequented the Holywell Street area where obscene books and prints were sold and often visible in shop windows. After publisher and bookseller George Cannon died in 1854, his wife ran the business for ten more years; in 1830 a police officer testified that Cannon hired women who “went about to . . . boarding schools . . . for the purpose of selling” obscene books, “and if they could not sell them to the young ladies, they threw them over the garden walls, so that they might get them.”

Women did not have to purchase pornography directly to read it, however, since they might easily find any sexually explicit books that male family members brought home. Women did not need to turn to pornography to encounter sexually arousing descriptions of older women disciplining younger girls; they could read material in the pages of a ladies’ home journal that would be reprinted as pornography. The correspondence about corporal punishment blurred distinctions not only between pornography and the women’s press but between male and female readers. Some worried that the magazine had become so obscene that it needed to be hidden from both; Olivia Brook wrote in 1870 that she now put the magazine “out of reach of any casual observer, and where especially no gentlemen can read it.”

…In The Other Victorians, Steven Marcus influentially argued that all pornographic accounts of whipping, even those that represent women birching or being birched, were nothing but displaced versions of repressed fantasies about father-son sex. That interpretation assumes that erotic desire between women was irrelevant to Victorian society, and that sex between men or family members was impossible to represent directly. In fact, the only impulse Victorian pornography repressed was repression itself. Victorian pornographers represented same-sex acts of all kinds and freely indulged their obsession with incest, including sex between fathers and sons. 

…Victorian pornography helps to explain how the family could simultaneously be organized around sexual difference and be a site of homoerotic desire, for in it the family is a hotbed of sex, but same-sex acts do not imply fixed sexual identities. Representations of sex between men and sex between women were never confined to specialized publications. Sex between women was regularly featured in pornographic texts and in images that depicted two or more women engaging in tribadism, oral sex, anal sex, digital penetration, mutual masturbation, and sex with dildos. Flagellation literature described women achieving orgasm from punishing girls and penetrating girls with fingers and dildos while birching them.

…The convergence of pornography and women’s magazines on the topic of flagellation points to their common origins in nineteenth-century liberal democracy, which promoted the free circulation of ideas among individuals who could demonstrate self-control and tasteful judgment. Pornography had affinities with Enlightenment and utilitarian ideals regarding the empirical investigation of nature and quests for knowledge, increased well-being, and merit-based rewards. Fashion was a feminized version of liberal democracy, for it depended on a woman’s ability to train her taste and accommodate her individual style to fluctuating group rules. 

By following fashion codes, women learned to fit their bodies into a social mold; by improvising on those codes, as fashion itself demanded, women developed the kind of restricted autonomy associated with liberal subjectivity. As Mary Haweis explained in The Art of Beauty (1878), clothing was a form of individual aesthetic expression and therefore had to follow “the fundamental principle of art . . . that people may do as they like.” The liberty underlying the art of dress also upheld of liberalism’s ideal of personal freedom as a source of originality and political renewal. The correspondence columns of fashion magazines allowed women to participate in the public discourse central to liberal politics.”

- Sharon Marcus, “Dressing Up and Dressing Down The Feminine Plaything.” in Between Women: Friendship, Desire, and Marriage in Victorian England

#between women #victorian #history #sexuality #sharon marcus

[silent-era-of-cinema]

Dorothy Elizabeth Gish (March 11, 1898 – June 4, 1968) was an American actress of the screen and stage, as well as a director and writer. Dorothy and her older sister Lillian Gish were major movie stars of the silent era. Dorothy also had great success on the stage, and was inducted into the American Theater Hall of Fame. Dorothy Gish was noted as a fine comedian, and many of her films were comedies.

Dorothy Gish was born in Dayton, Ohio. She had an older sister, Lillian. The Gish sisters' mother, Mary Robinson McConnell Gish, supported the family after her husband James Leigh Gish, a traveling salesman, abandoned the family in New York. Mary Gish, who was "a former actor and department store clerk", moved with her daughters to Indiana, where she opened a candy and catering business. In 1902, at the age of four, Dorothy made her stage debut portraying the character "Little Willie" in East Lynne, an adaptation of the 1861 English novel by Ellen Wood.

In 1910, she heard from her husband's brother, Grant Gish, who lived in Shawnee, Oklahoma and informed her that James was ill. He was in a hospital in nearby Norman, Oklahoma, so Mary sent 17-year-old Lillian to visit him. At first, Lillian wrote back to her 12-year-old sister Dorothy that she planned to stay in Oklahoma and continue her education, but after seeing her father she admitted she missed her mother and sister. So, after a few months away from them, in the spring of 1912, she traveled back. Soon afterward, their childhood friend, actress Mary Pickford, introduced the sisters to director D. W. Griffith, and they began performing as extras at the Biograph Studios in New York at salaries of 50 dollars a week. During his initial work with the sisters, Griffith found it difficult to distinguish one from the other, so he had Lillian wear a blue ribbon in her hair and Dorothy a red one. The girls, especially Lillian, impressed the director, so he included them in the entourage of cast and crew he took to California to produce films there.

Dorothy and her sister both debuted in Griffith's 1912 production An Unseen Enemy. She would ultimately perform in over 100 short films and features, many times with Lillian. Throughout her own career, however, Dorothy had to contend with ongoing comparisons to her elder or "big" sister by film critics, fellow actors, studio executives, and by other insiders in the motion picture industry. Such comparisons began even from the outset of the sisters' work for Biograph. Linda Arvidson, Griffith's first wife, recalls their initial work for the studio in her autobiography When The Movies Were Young:

Lillian and Dorothy just melted right into the studio atmosphere without causing a ripple. For quite a long time they merely did extra work in and out of pictures. Especially Dorothy, as Mr. Griffith paid her no attention whatsoever and she kept on crying and trailed along. She also continued to play in many one and two reel Biograph films, learning the difficult technique of silent film acting, and preparing for opportunity when it came. Dorothy was still a person of insignificance, but she was a good sport about it; a likable kid, a bit too perky to interest the big director, so her talents blushed unnoticed by Mr. Griffith. In 'The Unseen Enemy' the sisters made their first joint appearance. Lillian regarded Dorothy with all the superior airs and graces of her rank. At a rehearsal of 'The Wife', of Belasco and DeMille fame, in which picture I played the lead, and Dorothy the ingénue, Lillian was one day an interested spectator. She was watching intently, for Dorothy had had so few opportunities, and now was doing so well, Lillian was unable to contain her surprise, and as she left the scene she said: 'Why, Dorothy is good; she's almost as good as I am.' Many more than myself thought Dorothy was better.

Dorothy Gish's budding film career almost ended on a street in Los Angeles on Thanksgiving Day in 1914. On Friday, November 26, the 16-year-old actress was struck and nearly killed by a "racing automobile". Newspapers and film-industry publications at the time reported the event and described the severe injuries Gish sustained. The near-fatal accident occurred as Dorothy was walking with Lillian at the intersection of Vermont and Prospect avenues. According to news reports, after the car struck her, it dragged her along the street for 40 to 50 feet. Other movie personnel who were standing together on a nearby sidewalk, including D. W. Griffith, witnessed Dorothy being hit. The following day, the Los Angeles Times informed its readers about the accident:

...Miss Dorothy Gish, a moving picture actress, was seriously injured yesterday afternoon. Picked up unconscious, she was taken to the office of Dr. Tryon at number 4767 Hollywood boulevard, where it was found her injuries consisted of a crushed right foot, a deep cut in the right side, and bruises on all parts of her body. She was later removed to the home of her mother at LaBelle apartments, Fourth and Hope streets. The automobile that ran her down is owned by T. B. Loreno of No. 6636 Selma avenue, also of the moving picture game.

Subsequent news reports also describe the reaction of other pedestrians at the scene. The Chicago Sunday Tribune and trade papers reported that Dorothy's "horrified friends" rushed to her aid, with Griffith being among those who lifted the unconscious teenager into an ambulance and reportedly rode with her in the emergency vehicle. In addition to Gish's initial examination by the doctor identified by the Los Angeles Times, the Chicago newspaper and Motion Picture News stated that she was rushed to the hospital, where surgeons mended her "very badly torn" left side with "many stitches" and treated the area where one of her toes had been "cut off", presumably a toe from her badly damaged right foot. At the time of the accident, Gish was completing a two-reel romantic comedy with actor W. E. Lawrence. The film, How Hazel Got Even, had already been delayed once at Reliance-Majestic Studios due to director Donald Crisp's bout with pneumonia. Completion of the short was postponed yet again, for over a month, while Gish recuperated. Originally scheduled for release on December 27, 1914, How Hazel Got Even was not distributed to theaters until mid-February 1915.

After recovering from the 1914 accident, Gish resumed her screen career the following year, performing in a series of two- and three-reel shorts as well as in longer, more complex films such as the five-reel productions Old Heidelberg, directed by John Emerson, and Jordan Is a Hard Road, once again under D. W. Griffith's direction. Increasingly, Dorothy's appeal to both producers and audiences continued to grow in 1915, leading W. E. Keefe in the June issue of Motion Picture Magazine to recognize her as "one of the most popular film stars on the Motion Picture screen". In an article about Gish in the cited issue, Keefe also recognizes that Dorothy, career-wise, was finally emerging from her sister's shadow:

A year ago she was known as Lillian's little sister. A year's growth has changed this. Today she is taller and weighs more than her "big" sister, and is known as Dorothy Gish without always being identified as "Lillian's sister."

In 1916 and 1917, Dorothy continued to expand her acting credentials by starring in a variety of five-reelers for Fine Arts Film Company or "Griffith's studio", which was a subsidiary of Triangle Film Corporation. Her work in those years required filming on locations in New York and on the West Coast.

In the 1918 release Hearts of the World, a film about World War I and the devastation of France, Dorothy found her first cinematic foothold in comedy, striking a personal hit in a role that captured the essence of her sense of humor. As the "little disturber", a street singer, her performance was the highlight of the film, and her characterization on screen catapulted her into a career as a star of comedy films.

Griffith did not use Dorothy in any of his earliest epics, but while he spent months working on The Birth of a Nation and Intolerance, Dorothy was featured in many feature-length films made under the banner of Triangle and Mutual releases. They were directed by young Griffith protégés such as Donald Crisp, James Kirkwood, and Christy Cabanne. Elmer Clifton directed a series of seven Paramount-Artcraft comedies with Dorothy that were so successful and popular that the tremendous revenue they raked in helped to pay the cost of Griffith’s expensive epics. These films were wildly popular with the public and the critics. She specialised in pantomime and light comedy, while her sister appeared in tragic roles. Dorothy became famous in this long series of Griffith-supervised films for the Triangle-Fine Arts and Paramount companies from 1918 through 1920, comedies that put her in the front ranks of film comedians. Almost all of these films are now considered to be lost films.

"And So I Am a Comedienne", an article published in Ladies Home Journal in July 1925, gave Dorothy a chance to recall her public persona: “And so I am a comedienne, though I, too, once wanted to do heroic and tragic things. Today my objection to playing comedy is that it is so often misunderstood by the audiences, both in the theater and in the picture houses. It is so often thought to be a lesser art and something which comes to one naturally, a haphazard talent like the amateur clowning of some cut-up who is so often thought to be ‘the life of the party’. In the eyes of so many persons comedy is not only the absence of studied effect and acting, but it is not considered an art.”

She made a film in England Nell Gwynn which led to three more films. Gish earned £41,000 for these movies.

When the film industry converted to talking pictures, Dorothy made one in 1930, the British crime drama Wolves. Earlier, in 1928 and 1929, her performances in the Broadway play Young Love and her work with director George Cukor renewed her interest in stagecraft and in the immediacy of performing live again. The light comedy had proven to be popular with critics and audiences in New York, in performances on the road in the United States, as well overseas in a London production. Those successes convinced her to take a respite from film-making.

In 1939, both Dorothy and Lillian Gish found the stage role of a lifetime. “Dorothy and I went to see the New York production of Life With Father, starring Howard Lindsay and Dorothy Stickney,” Lillian wrote in her autobiography. “After the performance I said: ‘This is the play we’ve been waiting for to take through America.’” Lillian predicted the popular play would be a perfect showcase for all the people who had seen the hundreds of films featuring Mary Pickford, Dorothy, and herself. She was introduced to Lindsay backstage, and immediately surprised the producers with her enthusiastic desire to head the first company to go on the road, with Dorothy taking the same part for the second road company, and the movie rights for Mary Pickford. Pickford did not make the film version, but the Gish sisters took the two road companies on extensive tours. Another stage success later in Gish's career was The Magnificent Yankee, which ran on Broadway at the Royale Theatre during the first half of 1946. Lillian in her pictorial book Dorothy and Lillian Gish repeats John Chapman's comments about her sister's work in that production: "'Miss [Dorothy] Gish and Mr. Calhern give the finest performances I have ever seen them in. She is a delight and a darling.'"

Television in the 1950s offered many stage and film actors the opportunity to perform in plays broadcast live. Dorothy ventured into the new medium, appearing on NBC's Lux Video Theatre on the evening of November 24, 1955, in a production of Miss Susie Slagle's. She and Lillian had previously performed that play together on screen, in Paramount Pictures' 1945 film adaptation.

"The truth is, that she did not know what she really wanted to do," wrote her sister, Lillian, in her autobiography. "She had always had trouble making decisions and assuming responsibilities, in some ways she had never grown up. She was such a witty and enchanting child that we enjoyed indulging her. First Mother and I spoiled her and later Reba, her friend, and her husband Jim. Reba called Dorothy 'Baby' and so did Jim. With the best intentions in the world, we all helped to keep her a child."

From 1930 until her death, she only performed in five more movies, including Our Hearts Were Young and Gay (1944), which was a hit for Paramount. Director Otto Preminger cast Dorothy in his 1946 film, Centennial Summer, and Mae Marsh appears in the film in one of her many bit parts. In the 1951 release The Whistle at Eaton Falls, a film noir drama film produced by Louis de Rochemont, Dorothy portrays the widow of a mill owner. On television during this period, she also made several appearances in anthology television series. Her final film role was in 1963 in another Otto Preminger production, The Cardinal, in which she plays the mother of the title character.

Dorothy Gish married only once, to James Malachi Rennie (1890–1965), a Canadian-born actor who co-starred with her in two productions in 1920: Remodeling Her Husband, directed by sister Lillian, and in the comedy Flying Pat. In December 1920, the couple eloped to Greenwich, Connecticut, where they wed in a double ceremony in which Gish's friend, actress Constance Talmadge, also married Greek businessman John Pialoglou. Gish and Rennie remained together until their divorce in 1935. Dorothy never married again

Gish died aged 70 in 1968 from bronchial pneumonia at a clinic in Rapallo, Italy, where she had been a patient for two years to treat hardening arteries. Her sister Lillian, who was filming in Rome, was at her bedside. The New York Times reported the day after her death that the United States consulate in Genoa was making arrangements to cremate "Miss Gish's body" for return to the United States. The ashes were later entombed in Saint Bartholomew's Episcopal Church in New York City in the columbarium in the undercroft of the church. Lillian, who died in 1993, was interred beside her.

In recognition of her contributions to the motion picture industry, in 1960 Dorothy Gish was awarded a star on the Hollywood Walk of Fame at 6385 Hollywood Boulevard in Los Angeles.

The (since renamed) Gish Film Theatre and Gallery of Bowling Green State University's Department of Theatre and Film was named for Lillian and Dorothy Gish and was dedicated on that campus in 1976.

#dorothy gish #silent era #silent hollywood #silent movie stars #classic hollywood #golden age of hollywood #classic movie stars #1910s movies #1920s hollywood #1930s hollywood #1940s hollywood #1950s hollywood #1960s hollywood

[buzzdixonwriter]

Federal Operator 99 review

“Sophistication” isn’t a word one hears applied to serials very often.  Federal Operator 99 aims for sophistication and surprisingly hits the mark more often than not. 

It’s not a uniformly smooth attempt and the rough spots are noticeable, but for the least expensive of Republic’s three serials in 1945 (and lordy, were Manhunt Of Mystery Island and The Purple Monster Strikes inexpensive!) Federal Operator 99 is solid entertainment. 

Let’s start with the script, often the least sophisticated element of a serial. This time instead of Wild West adventures or sci-fi thrills Republic writers Albert DeMond, Basil Dickey, Jesse Duffy, and Joseph Poland under the guidance of studio story editor Ronald Davidson focused instead on a very human scale criminal enterprise, led by a colorful / complex / conflicted crime lord, Jim Belmont (George J. Lewis) with a penchant for fine art and piano concertos. 

Belmont is no typical Republic supervillain but a very human — albeit murderously eccentric — criminal. All of his plots are plausible and doable. Conquer the world? Hell, no.  Steal jewels then double cross when paid a ransom?  Oh, yeah. 

That alone is a refreshing change of pace for a serial of this era. 

His opposite number is our eponymous Federal Operator 99, Jerry Blake (Marten Lamont).  Serial leads (other than costumed heroes) tend to be played as just regular folks; the audience appeal is that we like to think we would be just as heroic under similar circumstances.

99, in contrast, is presented as debonair and dashing, super competent and equally as cunning as his quarry, and speaking with a faint English accent.  It’s not much of an exaggeration to say he’s a prototype of another JB with a number:  007. 

And speaking of JBs, notice how both hero and villain share the same initials as well as equal expertise in their respective fields, and a taste for the finer things in life. “Avoid giving your characters similar names” is one of the fundamental rules of genre fiction, and for Davidson’s tribe of scribes to give both the same initials indicates they were quite consciously trying to link the two on some level. 

One of the best things about this serial is 99 is not a reactive hero, waiting for Belmont to strike so he can pursue him, but is actively trying to trick Belmont and lure him out into the open where Blake’s team can arrest him. 

Despite this, Lamont comes across as a rather lacklustre leading man, while Lewis’ screen charisma is so strong we’re disconcerted to find ourselves actually rooting for him at numerous points in the story! Republic missed a bet by not swapping their two leads; it would have made for a far more dynamic story line.  

The script doesn’t help much, either.  While it’s always hard to tell who wrote what parts of any serial, one of the writers here clearly had a much better grasp on what they were trying to achieve and it reflects in good dialog and strong scenes. 

Other writers give us the equivalent of juvenilia with their unimaginative flat declarative sentences, the single biggest drawback of this serial. 

While she ended up a Republic Western heroine under both this name and Adriana Booth, Lorna Gray as Rita Parker is two lethal steps up from the typical supporting villainess.  She’s not decorative arm candy but a willing and ready partner to Belmont’s crimes.  

Of her counterpart among the good guys, let’s be generous and say Helen Talbot as Joyce Kingston is fetchingly cute and enunciates all her lines quite clearly. It’s not uncommon for serial stars, especially the ladies, to be tied up at some point in the proceedings but Ms Talbot is restrained so often and in such a wide variety that it’s clear somebody in the production had an affinity for this sort of thing.  She also spends an inordinate amount of time being driven about in the trunk of various automobiles. 

You do the best with what you’ve got and I’ll leave it to the reader to decide if this applies to Ms Talbot or the production. 

The automobiles bring up an interesting point re Federal Operator 99’s meager budget. The serial uses a lot of stock footage and to disguise the fact some of it is well over a decade old, the script draws attention to certain cars being earlier models and not the more contemporary ones seen elsewhere. 

Likewise, nobody changes clothes unless it’s to match stock footage; this is especially noticeable for Gray and Talbot. 

Federal Operator 99 has a very lean look to it, past the opening chapters (typically used to sell the serial to theaters) there’s never more than four characters on camera at any time. Those familiar with Los Angeles and the San Fernando Valley will spot many landmarks and familiar streets. The production does enjoy a bigger feel than other Republic serials of the era, and I think this is because they managed to use a number of sets left standing after feature films finished production.  

Where the serial really shines is in the direction. As typical of the era, more than one director handled that chore.  Usually studios had one director for dialog scenes and another for action, or one for interiors and another for exteriors, but Federal Operator 99 has three (!):  Wallace Grissell, a film editor who became a director presumably because he knew how to intercut stock footage well; the legendary Spencer Gordon Bennet, who directed more serials than anyone; and Yakima “Just stay in the chariot and we’ll see you win the race, Chuck” Canutt, who handled the action scenes and boy, howdy! did somebody make the right call there!  Federal Operator 99 is crammed with chair splintering / table flipping action from crotch to sternum, Canutt’s philosophy being no self respecting hero should ever walk through a door when he can dive headfirst through a window, gun blazing. 

If I didn’t know better, I’d think chapter four was originally shot in 3D based on the amazing number of objects and human bodies Canutt sends hurtling straight at the camera. 

The cliffhangers are good, better than most comparable serials, and there’s nary a cheater in the bunch. The Lydecker brothers round things off with a superlative display of exploding miniatures. 

Serials are noted for their casual use of violence, but Federal Operator 99 is significantly more gruesome than most. 99 meets Kingston — elaborately bound and gagged in a closet, no less — right after shooting and killing one of Belmont’s men; the two then have a cheery conversation about what to do next despite the fact there’s a corpse laying literally at their feet!  Various underlings and innocent bystanders get shot in the back or stomach, Belmont is freed in an expertly staged train rescue where a cohort as an afterthought casually shoots and kills the escorting agent, a woman screams off camera as Parker tortures her with a cigarette lighter, a criminal dies twitching under a hail of bullets, one bloodied mortally wounded minion takes a minute to heroically crawl to a detonator because how else are we going to get a satisfying Lydecker ka-boom?, and Belmont himself makes his on camera hard goodbye by plunging four stories to solid concrete.  

The gruesomeness brings up two plot points that raise questions for me:  First Belmont has a phone conversation with an unseen spy in Washington then discusses with his cohorts the spy by name and how vital he is to their organization…and we never reference said spy again; next Belmont mentions four members of his former partner‘s gang by their names, gives a brief run down on each, mentions how they might know where the hidden loot from a bullion robbery is…and in the next cut Blake is reading a newspaper story about how the four were brutally tortured and mutilated before being executed gangland style. 

Say wha — ?  I’m guessing Federal Operator 99 was originally conceived as a 15 chapter serial only to be truncated to 12 in preproduction (Manhunt Of Mystery Island and The Purple Monster Strikes were Republic’s last two 15 chapter serials, everything after that was either 12 or 13 chapters). Rather than waste more time and money rewriting the script, they just whacked out three chapters worth of material but didn’t change the dialog. 

The gruesomeness of Federal Operator 99, and its more realistic scale and script make me wonder if it didn’t start life as a development for a Dick Tracy or Rex Barton serial; the format certainly fits both. 

Not the best serial Republic ever made, but better than most. 

 © Buzz Dixon 

#serial #Republic Studios #movies #B-movies

[hellzyeahthewebwieldingavenger]

Ghost Spider #2 Thoughts

Sigh...more of the same...

This premise gets worse the more you think about it.

I mean let’s talk about the most obvious thing that didn’t occur to me before. So Gwen needs to pick her entry points back and forth from Earth 616 carefully because her powers don’t work immediately after exiting a portal. To this end she chooses a spot she knows will lead to a bill board with poles jutting out she can grab onto before her powers kick in again.

...why not just open a portal on the ground?

Then you have the utter lack of world building.

It’s fair enough to presume that audiences are familiar with the world building of Earth 616. It’s been around for donkey’s years and it’s the basis for just about every media adaptation of Marvel ever, including the movies. Even if it’s far from a 1:1 similarity it is close enough that even comic book virgins can jump in and not be at too much of a loss. That’s particularly true for a Spidey series where the premise is to be relatively normal, the only fantastical elements demanding world building being the spider powers (which everyone on earth is aware of) and the villains, who often speak for themselves or are famous enough that you can presume knowledge from the audience.

But when it comes to alternate universes like Earth 65, which are specifically alternative to  Earth 616, you do need to flesh some things out. And so far beyond Gwen is a super hero and not dead, nor is her Dad and Jameson’s son is an evil gangster not much world building going on.

More problematically is the fact that basic questions are never raised nor answered. Gwen says in Earth 65 she’s going to be late for a class in Earth 616. Is time synchronized though between universes? That’s a pretty basic question when dealing with parallel universes. In the Doctor Who episode ‘Rise of the Cybermen’ that question was answered almost immediately upon entry to the parallel Earth of that story, and the series at that time was trying to be baby’s first science fiction!

It’s not an unreasonable question to ask either given how from Spider-Man’s POV Spider-Verse (where he first met Spider-Gwen) was years ago but the first sentence of the recap page of this series states Gwen got her powers mere months ago.

Playing in the same ballpark as the bad world building is the ignoring of established continuity in regards to the Jackal. Now look, I could buy that Warren has gone so far off the deep end that he considers turning Gwen into a furry like him a good idea.

But...doesn’t Warren effectively consider his clones of Gwen as the real thing? Isn’t that the entire reason he cloned Gwen in the first place, why he set up the original clone of Gwen with a clone of himself to in a weird way live out his fantasy?

So why is he obsessed over this new version of Gwen, a version that for all he knows could just be another clone? In fact if you are Miles Warren wouldn’t that be the first thing you presume? It’s not like she has given any genetic samples he can test to confirm if she is a clone or not.

On the other end of this relationship I just realized how asinine it is that no one recognizes Miles Warren, especially at ESU. Sure once upon a time Warren’s identity was secret. Even after his presumed death in the 1970s Clone Saga his identity was a secret. But that all changed in the 1990s Clone Saga when he was arrested and sent to Ravencroft. At that point his identity became public knowledge. There were like SWAT teams after him for god’s sake! And it’s very difficult to believe that ESU, the place where he worked for years and then randomly disappeared from wouldn’t have heard about one of their staff members being a super villain. Especially a super villain who

a)      Became a player in gangland activities

b)      Was targeted by the Punisher...three times!

c)       MURDERED one of their other staff members!

d)      Was majorly complicit in an event that turned everyone in New York into spider monsters!

e)      Attempted global genocide!

f)       Seemingly died very publically

Those last two by the way? They happened on site of the Daily Bugle newspaper!

This isn’t even addressing how he was last seen Marvel Team Up 2019 where he was again arrested at ESU itself! This issue does nothing to explain how he went from that situation to this. Which I’m actually okay with as that was handled by a different editorial office. If you like that was Ms. Marvel continuity and this is Spider continuity.

Normally I’d let the other continuity errors slide but most of them are stories that are major major appearances by the Jackal and define his relationship with Gwen Stacy in the first place, which is the thing this whole arc is built upon.

But no. He changes his last name, and literally nothing else, and he goes unrecognized. Unrecognized in a school where Peter Parker  is a teaching assistant (still don’t know when or where that happened)!!!!!!!!!!!!! How on Earth is he going incognito? Does he just make sure to stay 10 paces behind Peter at all times??????? Hell Curt Connors is working there too and he has to know that, he just saw Connors in Clone Conspiracy! In fact GWEN saw him in Clone Conspiracy, she saw multiple clones of him looking just like he did in issue #1 why was she not reacting to that?

My God it gets dumber the more I think about it because in Clone Conspiracy we last saw Warren blowing himself up and that was 100% confirmed to be the real Warren not another clone so who is this guy? Not to mention that story also depicted Warren wearing a Jackal costume not actually transforming into a human jackal monster.

Now me personally I think nowdays the latter idea should be the norm for the character. It never made sense for a middle aged man to get the better of Spider-Man, but his 90s Joker/Matrix look was just terrible. Having him transform back and forth though is a great compromise. But again how did we get here????????????????

It’s all just so poorly thought through!

Going back to what I said last issue about the lack of information given to new readers, this story goes along with that as far as the Man-Wolf is concerned. His treatment very much plays out as the latest issue in a run which would be fine if this was merely Ghost Spider #51-52 as opposed to ALSO being Ghost Spider #1-2. To treat this character who’s affecting subplots the way he is as though readers should just know who he is doesn’t make sense with a major relaunch. We haven’t even SEEN Man-Wolf in this series but we’ve talked a lot about him.

Remember show don’t tell?????????????

The same applies to the ramifications of his actions. He’s responsible for a bomb. What bomb? He almost killed Harry? Who is Harry? Gwen tells some thugs to leave her friends alone but its not until panels later that we confirm they are Man-wolf’s thugs, played initially as it was that wasn’t clear.

All of this is a non-issue if you read the older run but if you haven’t then it’s confusing and alienating.

And unlike what certain people might say it’s beyond unacceptable to demand that readers do homework to enjoy a comic they already paid for.

Lets change things up and talk about the two positives I have. The art continues to be nice, I especially like Benji’s look because it is very reminiscent of Spider-Man Loves Mary Jane! And, as was common back when I was reading Spider-Gwen regularly, George Stacy continues to be the best character in this. The short scene in the kitchen was the best scene of the whole book and was genuinely endearing.

Okay back to the justifiable complaints.

So Gwen comments that she has to be subtle in order to keep her identity on Earth 616...but then towards the end of the book she enters a portal from Earth 65 into Earth 616 unmasked. This is stupid in general but extra stupid considering she knows her powers don’t immediately work upon exiting portals. So even if she wasn’t immediately spotted by someone or a CCTV camera she wouldn’t even have a spider sense to warn her of danger for a few precious seconds! Someone who’s life was upended by her identity being revealed (and was a public enemy before that) would be naturally wary of something like this. This isn’t even accounting for the fact that she knows she DIED in Earth 616 because one lunatic discovered Peter’s identity! Also if she can exits portals on roof tops why does she ever need to risk her neck over at that billboard?

The only other problem I spotted was that the colourist seriously screwed up Peter’s look as he has black hair instead of brown.

Besides all that the inherent problems of the premise from last issue still apply. Peter being a regular character. Gwen endangering her friends on Earth 65. The division between the supporting cast.

Ugh....this is gonna be a slog of a series isn’t it...

#Spider-Man #Spider-Gwen #Ghost Spider #Gwen Stacy #Peter Parker #The Jackal #Jackal #Miles Warren #George Stacy #Captain Stacy #Clone Conspiracy #Curt Connors #Clone Saga #Lizard

[android-for-life]

"A stronger future for journalism through the GNI"

There are two universal truths about the state of the news industry today: Demand for quality journalism has never been higher, and the need for news businesses to embrace the transition to digital has never been more critical. When we launched the Google News Initiative in 2018, many news businesses might have presumed they had time to make this shift in a methodical and considered way. COVID-19 changed that timetable drastically.

The unanticipated upheaval of this year has affected how we continue to enable innovation in news. In planning for the future, it’s helpful to know what we’ve learned from the past. Our first GNI Impact Report looks at what we have done in collaboration with the news industry over the last couple of years to see what worked and where there are opportunities for growth.

Over the last two years, the Google News Initiative has supported more than 6,250 news partners in 118 countries through $189 million in global funding, programs, tools and resources. 

Beyond the numbers, we’ve learned that different parts of the world need different approaches, from small local outlets and large cross-border publishing operations in Europe, to news organizations serving the diversity of populations and languages in Asia Pacific. In Latin America, the lack of capital available to digital news startups has put a focus on transformation of legacy organizations and sustainable growth for news entrepreneurs. In the Middle East and Africa, the swift digital transformation and steep rise in local content creation provides exciting opportunities for news. And this year, the unfolding pandemic and social justice issues in North America have crystallized the importance of local news.

There’s still so much to be done. To take you a little deeper inside our work, we asked three members of our team to talk about our priorities.

Elevating quality journalism

Olivia Ma, Director, News Lab & Civics

As a journalist’s daughter, I learned about the importance of journalism as I sat with my father at our breakfast table each morning and watched him unfold each one of our three daily newspapers.  

How people access news has changed dramatically since then, which is why I’m passionate about helping news organizations strengthen their digital storytelling and build new ways to reach their audiences online. Over the last two years, we’ve equipped more than 340,000 journalists with skills such as digital verification, data visualization, and machine learning through in-person trainings, and have enabled an additional 1.7 million online trainings for journalists through the GNI Training Center. 

Along the way, we’ve observed some commonalities: Journalists want new tools to save time so they can focus on finding, reporting and writing stories. They’re also willing to collaborate with other news organizations and tech companies to get things done for the good of the public. One great example involves work to fight misinformation; our $6.5 million investment on pandemic-related misinformation enabled organizations like First Draft and Comprova to make fact-checking resources accessible and connect reporters covering COVID-19 globally. 

There’s a growing awareness and acknowledgement that diverse newsrooms result in better storytelling, coverage and business growth. To understand the gaps and opportunities, we’ve driven research that shines a spotlight on diversity in U.S. newsrooms, the role of gender in Argentinian journalism and different lived experiences of journalists in Germany. To help grow the talent pool of future journalists, we’re investing in the GNI Fellowship program and talent development programs like theMaynard 200and driving innovation by awarding funding to local media projects focused on diversity, equity and inclusion.    

Evolving sustainable business models

Ben Monnie, Director of Global Partnerships Solutions, News

As a business strategist for many years at The New York Times, and now at Google, I’ve learned that there isn’t a single business model that works for every organization. My experience with the GNI, however, has surfaced common lessons that enable publisher growth. Successful publishers harness data to understand their audiences, build products and make business decisions, using tools like News Consumer Insights. They’ve also adopted a digital-first mindset and a willingness to continually experiment

We’ve seen through our work on Subscribe with Google and global Subscriptions Labs that readers are willing to pay for quality news online through digital subscriptions, contributions and memberships. Publishers like The Buffalo News have put this insight to work by making digital subscriptions a priority, transforming their 140-year-old newspaper into a consumer-focused digital publishing business.

But the difficulty in funding journalism is growing, particularly at the local level. While the industry has seen further reduction in legacy local news organizations, we’re learning from emerging models supporting news in those communities. 

That’s why we’ve narrowed in on helping local publishers navigate the complex choices they face in growing their businesses today. By understanding the evolving landscape and identifying examples of success, we’re working with our partners to establish best practices and develop resources to help others. Efforts like our Digital Growth Program and Local News Experiments Projects, which launched local news offerings in the U.S. and the U.K., are applying lessons learned to help sustain the future of journalism.

Empowering newsrooms through innovation

Madhav Chinnappa, Director of News Ecosystem Development

Transformation can be difficult; having worked in news organizations for most of my career, I know that personally. Innovation requires being open to experimentation, trying new ideas, testing them and sometimes failing. 

New technology creates new opportunities, and we’ve seen this reflected as news organizations help us understand the world through data journalism and use machine learning to transform the way news is made and consumed. We’re also listening to how we can support newsrooms through technology, which is why we launched Journalist Studio to provide reporters with tools that help them do their work more efficiently.

Building on the work of the Digital News Innovation Fund in Europe, we’ve committed over $40 million through the GNI Innovation Challenge and YouTube Innovation Funding to help 213 news organizations try new ideas. Some partners experimented with new ways of storytelling, others used local journalism to help elderly readers in Japan stay informed. We saw outlets experiment with new revenue streams, create new products to streamline reader contributions and build the first membership program in Myanmar, where press freedom is at risk.

It’s been amazing to see how those open calls for new ideas stimulated new thinking and generated powerful collaboration between publishers.

What's Next

What’s next? The simple answer is “more.” More focus on building sustainable growth for local, through programs like the Local News Experiments Project. More tools like Pinpoint that save on newsroom costs and help journalists focus on creating quality journalism. More efforts like the Digital Growth Program to help publishers adapt and grow their businesses. And more collaboration, which is at the heart of everything we do at the GNI. 

The Internet has changed our world. It has changed societal behavior in ways we expected and ways we did not. The news industry and Google must continue to understand the impact of these changes and explore how we might innovate our way to solutions. We have both the need and the opportunity to rethink the role news plays in people’s lives and rethink how we can enable the citizens of our societies to have the tools and information they need to be informed citizens. We remain committed to working closely with the journalism community to build the constructive and sustainable news ecosystem that’s necessary for our open societies to thrive.  

Source : The Official Google Blog via Source information

#jeprog

[agilenano]

Agilenano - News: The New York Times will be free for high school students (over the next three anxious months)

America’s high school students are mostly sitting at home right now, alternating between scrolling Instagram, being bored, and being bored while scrolling Instagram. The New York Times wants to give them something to do. Through a deal with Verizon, the Times is giving free access to NYTimes.com and its mobile apps to American high school students for the next three months. The idea is that Times journalism can keep students informed as they deal with the dislocation caused by the coronavirus and the social constraints imposed on Americans as a result. “From April 6 to July 6, students and teachers will be able to access Times journalism online,” said Times CEO Mark Thompson and Verizon CEO Hans Vestberg in a joint release. “This means that even while studying remotely, students will have deeply reported, expert journalism at their fingertips — from international issues to arts and culture to science, politics and more.” It’s a good deal for the kids, obviously, and it’s a good deal for the Times, for reasons discussed below. It’s also the latest event in more than two centuries of intersection between America’s newspapers and its schools — an exchange that’s mixed civic and commercial interests in ways that try to advance both. On June 8, 1795, the Portland Eastern Herald of Maine published an editorial proclaiming the merits of newspapers as a teaching tool. “Much has been said and written on the utility of newspapers,” it argued, “but one principal advantage which might be derived from these publications has been neglected; we mean that of reading them in schools, and by the children in families…Learning in the hands of a few effects a nobility, but generally diffused is an effective barrier against the every invasion of the rights of man.” That combination — of honest hopes for improved social welfare and financial self-interest — has marked the relationship between newspapers and education across the two-plus centuries since. Newspapers-in-education programs took off in the United States in the 1930s and have both given students a window into the broader world and inculcated the newspaper-reading habit in generations of young future subscribers. No American newspaper has leaned into that project more than The New York Times, which has used its perch as a national newspaper to dip repeatedly into the education world. Just to look at the past couple of decades: Its Knowledge Network was an early attempt to link “Times content with faculty course material for both credit-bearing and continuing education courses” online, in 2007. In 2008, it bought a majority share of Epsilen, an online-learning platform. By 2010, it first partnered with universities to jointly offer for-credit courses, like a video class at Ball State’s j-school, and running a statewide initiative in Texas public schools. In 2011, it started offering teacher certification courses with an Arizona community college and continuing ed classes with USC. Those efforts developed at a time when the Times was seeking to diversify company revenue. But the cash crunch of the financial crisis led the paper to sell off its non-core assets and retrench around its central product, with many of those education partnerships falling away. (It sold Epsilen in 2012.) But they never stopped. (Did you know you can attend summer school at The School of The New York Times for just $5,825? Pay $95 to learn how to be a critic from A.O. Scott and Ben Brantley? Earn a certificate in virtual reality?) The decision to focus on its news product has paid off, of course, with a boom in digital subscriptions, a growing newsroom, and a generally robust future ahead of it. And some of its most noteworthy engagements with education have come with that core news offering. In early 2017, after Donald Trump’s election, there was a swell of audience interest in and goodwill toward high-level journalism, illustrated most clearly by the “Trump bump” in subscriptions the Times and others experienced. To try to capture a bit more of that spike, the Times launched a simple program that let anyone “sponsor” a Times digital subscription for a high school student. “Sponsor a student subscription and inspire the future generation of readers,” it pitched. Given that the marginal cost of an additional Times digital subscription is essentially zero, this functioned essentially as a donation to the Times — which, as a for-profit company and a proud institution, would find it difficult to just put a “Donate” button on article pages. Within one month, 15,500 donors had “sponsored” 1.3 million student subscriptions. (Some back-of-the-envelope math suggests that generated about $2 million for the Times.) Since then, the Times has gone back to the idea of sponsoring subscriptions for revenue. Last fall, it announced a partnership with Verizon to give free NYTimes.com access to students in Title I high schools (those with higher populations of poor and disadvantaged students). Of note in that announcement: Students and teachers only had access “when connected to their school’s network” — a situation very few American students are in right now thanks to COVID-19. Then there’s today’s announcement: The New York Times Company and Verizon today joined forces to offer all students and teachers in high schools within the U.S. free digital access to NYTimes.com. With students across the country impacted by school closures due to the coronavirus pandemic, this partnership will help to keep them educated, informed and connected. This time, crucially, access will not require being connected to a school’s network. Getting in will require teachers or school administrators registering and then giving over a list of their students’ emails. (So if you’ve got a bored high-schooler at home, you may need to bug someone in the school office to get this process going. Or, well, someone who is normally in the school office but currently in their living room.) Sorry, no homeschoolers. I’m going to assume that Verizon is paying the Times for the privilege here. (No details in the announcement, of course, but the Times could just as easily do this on its own.) But this would still be a very good deal for the Times even if money wasn’t involved and the PR benefit was nil. Most fundamentally, the Times gets millions of teenagers exposed to Times content — at a moment when, thanks to coronavirus, news consumption is waaaay up for all Americans. It’s easy to imagine these kids thinking of the Times as the place to go when they want to see the latest on the crisis — and some of them sharing Times stories in their networks. (It’s worth noting, of course, that the closure of schools means that any access to digital content is a matter of what resources students have at home — both in terms of access to a computer or smartphone and in terms of wifi or data access. Those can be wildly unequal from home to home, as America is finding out in its current experiment with distance learning.) Presumably, the students will get some version of the standard onboarding for new Times subscribers, which pushes newsletters and podcasts like The Daily. Those embed the Times into a daily ritual, either in their inboxes or their podcast app. And if a student subscribes to any, those will keep coming after the three-month free access is over. The Times also gets all those kids’ email addresses — admittedly, probably their school addresses instead of their Gmails — which (a) makes them registered, logged-in users, making it possible to learn their preferences and what kind of content they like, and (b) opens the door to future email marketing. (If I were the Times, I’d send every kid in this program an email in a couple months offering $1 or some other cheap price to extend access through the November election — another big potential hook to draw in even kids with limited interest in the news.) And all of this comes with no real financial downside. Not many teenagers have their own paid New York Times subscriptions, so there’s almost no risk of cannibalizing existing customers. The cost of providing access is just processing the email addresses and figuring out a marketing/onboarding plan. I am of the belief that the Times (and a few other national outlets, plus a larger number of niche outlets) still has a lot of potential growth in the education business. (The fact that coronavirus is currently accelerating distance learning and online education like nothing before will only increase that opportunity. As Scott Galloway recently pointed out, Google searches for “MasterClass” have passed searches for “business school.”) I’m on the record backing an education-ish acquisition like The Great Courses or MasterClass, as both a standalone product line and an upsell to a premium Times subscription. Education is a hard nut to crack; ask all the people saying MOOCs would take over higher ed a decade ago. But this sort of deal to bring in young readers is a no-brainer. Just for fun, here’s that piece from the June 8, 1795 Portland Eastern Herald — which survives today in the Portland Press Herald — advocating for the use of newspapers in education. #Schools #Education #Coronavirus #FeaturedArt #TheSchoolOfTheNewYorkTimes

Agilenano - News from Agilenano from shopsnetwork (4 sites) https://agilenano.com/blogs/news/the-new-york-times-will-be-free-for-high-school-students-over-the-next-three-anxious-months

[ceruleanvulpine]

re-reread special edition: footnotes

that is to say, the bad beginning: rare edition footnotes, which some helpful person has posted here. Book Club Beware, Spoilers Abound

In the years since the book’s publication, many people who have read the book have besieged me with questions concerning the iotas of the story, exactly how I came to know these iotas, and if I cared to add anything to my report. My reply to these questions is always the same. “Look behind you,” I say, and then I leap out of the window and slide down the drainpipe of the hotel, art gallery, or interrogation room in which I have been staying. Sometimes there is a car waiting for me. Other times it is someone in the car who is waiting.

The actual Bad Beginning doesn’t have as much of that lemony fresh style to which I have become accustomed, so it’s nice to get back to this. Mr. Snicket, please stop leaping out of windows. 

I have a few moments to add the following notes to iotas within the text of The Bad Beginning, reprinted here in the feeble hope that these police inspectors, art dealers and chambermaids will leave me alone.

Oh! They pulled part of that monologue in episode two from here!

On that particular occasion, the Baudelaire parents not only gave their children permission but encouraged them to leave the house, as the adults had some pressing business to attend to. This business was delayed indefinitely due to death.

I have no comment on this it’s just very good. 

The Baudelaire table was not used exclusively for dinner. (…) One thing I remember from my time at the table was that it was always necessary to use a coaster underneath one’s beverage so as to not leave an unsightly ring on the wood.

@snicketsleuth​ has used this as evidence that Lemony was at the Baudelaire mansion on the day of the fire, but they have also discussed how the family tree in UA only works if Lemony’s mother’s initial is the branch he comes from; given the fact that Beatrice is allergic to peppermints and Lemony refers to “the famous Baudelaire peppermint allergies,” it seems just as likely to me that Bertrand took Beatrice’s name rather than the other way around, meaning that Lemony is reminiscing about much longer ago.

This was an official fire department, which despite hundreds of years of existence has not managed to stamp out fire completely. Just recently I was forced to stamp out a fire completely, when I became so immersed in reading a philosophical work entitled Nobody’s Family is going to Change that I completely forgot about some Gruyère cheese fondue I was reheating. Also, I have reason to believe that the O that appears on the official fire department insignia stands instead for a person’s name.

Our narrator, in fine form, pivots from absurd literalism (the fire department has failed to completely get rid of fire) to, uh, apparently unaware hypocrisy (of all people, Snicket, YOU let unattended food catch on fire?) to unfounded paranoia (I don’t THINK it stands for Olaf Fire Department, L). 

I love him.

Curiously enough, Mr. Baudelaire’s brandy bottle was found on the remains of the dining table, with no coasters nearby. This would indicate that either the coasters were burned beyond recognition, or the Baudelaires had received a visitor who had no manners whatsoever.

Count Olaf: shows up to your house! drinks your brandy without a coaster! commits arson!

For more information on the Doldrums, interested parties might turn to chapter 2 of Norton Juster’s alleged allegory The Phantom Tollbooth.

@jewishsnickets​ !!!

For more information on the destruction of the Royal Gardens, interested parties might turn to the following articles in The Daily Punctilio, the city’s newspaper: “Arson suspected in Destruction of Royal Gardens,” by Jacques Snicket, and “Absolutely No Arson or Any Other Suspicious Thing Associated with the Royal Gardens, which Simply Burned to the Ground and Then Were Covered in Dirt Due to Wind, Says Official Fire Department,” by Geraldine Julienne. Incidentally, the Royal Gardens had several ornate wooden benches ideal for sitting and reading, or for contemplating the more exotic plants contained in the Poisonous Pavilion. All of these benches where lost in the destruction except one, which has since been moved to the lobby of a hotel. It is easily recognizable due to a small unsightly ring, left by someone who did not use a coaster underneath his or her beverage.

1) The reference to poisonous plants ties in with the theory that the case Justice Strauss was dealing with (with the poisonous plant, and the illegal use of someone’s credit card) was the destruction of the Royal Gardens, which Jacques was investigating.

2) This bench, apparently used by Olaf, turns up in The Penultimate Peril and again in The Beatrice Letters, which is fucking amazing. 

p.23 …the stuffed head of a lion, which was nailed to the wall. For more information about the abuse of lions, interested parties might turn to Book the Ninth. Professional lions are often named after their trainers, but I have been unable to determine if the lion on Count Olaf’s wall was Beatrice or Bertrand.

Hey……. this is uncalled for

Also, my sister has proposed that some of these eyes hid secret peepholes, cameras, or microscopic lenses, as in the Baudelaire home.

this sentence is a fucking journey, taking you as it does from “olaf that’s fucked up” to “as in WHERE??”

Despite Geraldine Julienne’s article in The Daily Punctilio “No Poisonous Plants Were Removed from Royal Gardens Prior to Destruction, Official Fire Department Reports.” I have reason to believe that the poisonous plant Justice Strauss referred to was removed from the Royal Gardens prior to its destruction.

See!!!

pp.41-42 From a street vendor, they purchased olives after tasting several varieties and choosing their favorites. My commonplace book contains following interview: LS: On the day in question, did three children-a fourteen-year-old girl, a boy a bit older than twelve who was wearing glasses, and a young baby with somewhat peculiar teeth-purchase from you some olives, after tasting several varieties and choosing their favorites? Vendor: Yes.

LEMONY, YOUR RESEARCH IS BAD

p.55 …if anyone had looked into the Baudelaire orphans’ bedroom… Two people did, of course.

Ah, no, see, this is where the really creepy note I remembered was.

._’

p.62 …the Fountain of Victorious Finance… Readers of Book the Seventh will remember that fountains are like top hats in that they provide hollow spaces in which things can be hidden (please see my note to page 6), and I imagine the damp surroundings of a fountain’s innards would be comforting if the person hiding inside had recently survived a fire.

(waves “beatrice survived” flag)

The songs include the following: “Dreary, Dreary” “The Butcher Boy” “Vide le Cercueil, Vide Mon Cœur” “Place Daturas on My Grave” “La Belle Dame Sans Merci” “Dry Bones” “Bizarre Love Triangle” “Dans des Terrains Cendreux” “I’m So Lonesome I Could Cry” “Lately I’ve Become Even More Lonely, So I’m Crying Harder Than Usual” (unfinished)

Dreary, Dreary is a real and upsetting song by the Gothic Archies, based on the books. 

“The Butcher Boy” could be either a sad folk song called The Butcher’s Boy about a man who abandons his lover or a “bawdy” and “festive” Italian tarantella sometimes called The Butcher Boy?? 

“Vide le Cercueil, Vide Mon Cœur“ (”empty the casket, empty my heart”) is…. a fictional aria from a fictional opera called “The Posthumous Revenge,” which is itself in a book by Edward Gorey. Amazing. 

“Place Daturas On My Grave” doesn’t seem to exist anywhere else, but daturas are referenced in a later footnote.

“La Belle Dame Sans Merci” is, of course, a poem by Keats. 

“Dry Bones” is a biblical folk song??

I had previously assumed “Bizarre Love Triangle” was just a reference to the events of the VFD backstory, but no, it’s a New Order song and now it’s making me sad about Lemony, thanks Haniel. 

“Dans des Terrains Cendreux“ is the opening line of the poem “La Béatrice” by, yup, Charles Baudelaire. 

“I’m So Lonesome I Could Cry” is a song by Hank Williams, although the last one is… uh… presumably Lemony’s take on it. 

The Victorian art of flower arranging is a coded system in which each flower in an arrangement conveys a certain message. Below are some flowers and their Victorian symbolism: Aster: Cheerfulness in old age Chrysanthemum: truthful 

Datura: “I dream of thee”

Peppermint: cordiality, warmth of feeling Fennel: worthy of praise Nasturtium: heroism, patriotism None of these are flowers believed to have been used that evening. Please see also my notes to pages 6, 18 and 62

Bolding mine. Also, those footnotes are the thread about the possible survivor hidden in the fountain. HMMM. 

p.142 No one seemed to notice that he held a walkie-talkie the entire time. My commonplace book contains the following interview: LS: On the night in question, during the performance of Funcoot’s play The Marvellous Marriage, did you notice that Count Olaf, the production’s start, was holding a walkie-talkie the entire time? Audience member: No. LS: How about you? Another audience member: No. LS: You? Another audience member: No. LS: You? Another audience member: No. etc. p.146 “But Violet is only a child!” one of the actors said. “She’s not old enough to marry.” My commonplace book contains the following interview: LS: On the night in question, did you say, “But Violet is only a child!” one of the actors said. “She’s not old enough to marry.” Actor: I think so.

YOUR RESEARCH METHODS ARE BAD AND YOU SHOULD FEEL BAD

P.157 In the darkness, Violet looked like a ghost, her quite wedding gown moving slowly across the stage. My commonplace book contains at least seventeen interviews with people who remarked that due to the facial resemblance, the white dress, and the dim lighting, Violet Baudelaire looked quite a bit like a woman who is no longer alive.

hello…….. this has killed me

#asoue #ceruleanrambling #current reading events #rereread #the puzzling book club

[bharatiyamedia-blog]

Spat between Nirmala Sitharaman, scribes over North Block 'gag' undermines credibility of media, govt

http://tinyurl.com/y64mutcz Tonight, most of the 200 odd journalists invited by Finance Minister Nirmala Sitharaman to her post-Finances dinner will selected to not take their locations on the very convivial Taj Mansingh resort, and as a substitute curl up in entrance of their tv units with plates of greasy pakodas. That is no extraordinary sulk, of the sort sparked off by loutish safety guards or a celebration functionary’s verbal affronts: the form of chilly rage that leads hacks to move up on free drinks ought to by no means be misunderestimated. File picture of Union Finance Minister Nirmala Sitharaman. PTI This week, Sitharaman infuriated the media by barring even government-accredited journalists entry to the finance ministry’s North Block places of work with out prior appointments. The Editors Guild of India decried Sitharaman’s choice, calling it a “gag on media freedoms”. It’s inconceivable tonight’s boycott will rattle Sitharaman, whose iron fist, famously, smashed a glass-topped desk at her first press convention in 2015. However the debate isn’t, and shouldn’t be, about media entry to ministry buildings. It’s about info, energy and what the free press means in a democracy. First, the info: Many key ministries have lengthy disallowed journalists from wandering the corridors of energy. Lalit Mansingh, international secretary in 1999-2000, ended the nice follow of journalists wandering round South Block, presumably involved in regards to the upside-down studying expertise some had acquired, letting them peruse recordsdata positioned on bureaucrats’ tables. Shivshankar Menon, international secretary from 2006–2009, tightened restrictions additional. The defence ministry, the Prime Minister’s Workplace, and different premises linked to nationwide safety have at all times been off-limits for entry with out appointment, even to journalists security-cleared by the federal government’s Press Data Bureau. In precept, that is unexceptionable; in truth, it’s the norm in most international locations. Even so-called hard-passes — the credentials issued to journalists masking the US’ division of state, or White Home — don’t give automated entry to officers. The UK’s press accreditation system doesn’t give entry to authorities places of work, both. Like so many in-principle-unexceptionable issues, although, that isn’t how the system works in India. Few Indian authorities info officers, as any pissed off journalist will testify, have the both the entry or initiative to answer present responses quickly. For beat journalists, whose job it’s to report occasions as they unfold, this can be a actual drawback: Particularly within the face of a authorities fast to complain when it thinks it isn’t getting truthful press. Being current in a ministry constructing means it’s doable to get a fast remark from a minister or senior official, or an unscheduled briefing ought to time open up. Monetary journalists, specifically, report on info that has virtually minute-by-minute affect on the fairness or bond markets. For sure sorts of Proper-wing activists, who reside on social media and have by no means been subjected to the house ministry’s brewed-in-horsepiss tea, hanging across the very-mouldy corridors of powers is precisely the form of Lutyens Delhi privilege which wants dismantling. They’re fallacious, however journalists must ask themselves some disagreeable questions, too. Like each authorities earlier than it, this one profoundly fears damaging leaks of knowledge. Like others have carried out occasionally, it has responded by cracking down on conversations between political leaders, bureaucrats and the press. Pressures, typically unsubtle, have been mounted on editors and managements to publish, or not publish, sure varieties of stories. That is, in fact, completely predictable: Politicians don’t care to take part within the dismantling of their photographs. Prime Minister Narendra Modi’s relationship with the press, although, runs to a brand new, international sample. Earlier this yr, US president Donald Trump performed a mass purge of White Home press-pass holders. Hungary’s prime minister Viktor Orban has merely acquired his buddies to buy out unbiased media teams. Now capable of attain out to their audiences by means of social media, this new cohort of politicians have come to query the concept the media should be revered as an establishment: If it can’t be purchased, or coerced, it may be merely bypassed. Ever since 1763, when the unconventional John Wilkes started an historic showdown with the British Crown, press freedoms have been fought for as a vital examine on energy. Public criticism of presidency is an important examine in opposition to abuses; the free press, as an establishment, basically exists to form and articulate clever critique. Leaders who dislike the media they get, although, ought to a minimum of be cognisant of its function as a watchdog in opposition to hubris. Parading earlier than Rome in triumph, the traditional author Tertullian tells us, generals had been “reminded that he’s a person even when he’s triumphing, in that almost all exalted chariot, for at his again he’s given the warning: ‘Look behind you. Bear in mind you’re a man.’ ” There’s little doubt although, that the disaster within the media’s relationship with authorities can be of its personal making. For many years, the value of stories — the price of a newspaper, for instance, or tv and internet subscriptions — declined to nothing. It now prices ₹20 -₹25 to supply a newspaper, for instance, however a tenth of that to purchase one. Low costs meant a pointy rise in readership — and extra promoting — however a horrible worth was paid. Information organisations turned more and more depending on authorities patronage, each by means of promoting and by ministers’ presence at sponsored occasions. Inexorably, less-than-edifying relationships between media and politicians grew. Constructing on a practice that dated again to former prime minister Indira Gandhi, former dwelling minister P Chidambaram, for instance, routinely texted edicts to tv stations and newsrooms. Few proprietors, cognisant of the prices, noticed purpose to defy such stress. Even worse, information organisations spent ever-less on their job. Stress on prices have meant reporting workers have been downsized, expenditure on news-gathering slashed, and investments in experience and information squeezed. Collectively, these contributed to the media’s rising lack of credibility among the many public. The utter failure of journalists to learn this yr’s Lok Sabha elections is a working example, however removed from the one instance. For a lot of on India’s political Proper, the media has been a device to maintain the mental hegemony of a small, Liberal élite; an enemy of the brand new Bharat they search to create. This isn’t, in truth, true: many within the media are Left-wing, many others, Liberals, however the Proper, ever since 1947, has additionally had significant representation in India’s media panorama. The uglier fact is that that media, battered by unsustainable enterprise practices of its personal making, has grow to be ever-more servile since its heydays within the mid-1980s. Within the minds of the Proper’s social-media fanatics, this isn’t an issue. Data, they declare, has been democratised, rendering the organised media irrelevant. However this declare corresponds poorly to actuality. Discovering credible info requires time, cash and expertise: Assets particular person residents don’t at all times have. For instance, when the federal government says issues in Kashmir are enhancing, it wants journalists put the declare in context: To remind readers that the federal government additionally thought Kashmir was “below management” in 2014-2015, “remained regular” in 2015-2016, “continued to point out enchancment” in 2016-2017, and demonstrated “important enchancment” in 2017-2018. In a wise world, Finance Minister Sitharaman and the journalists who cowl her ministry can be having a dialog to deal with their issues. There are, clearly, many options: Beginning with making info extra simply out there to each the general public and the press. The media, in flip, must be speaking about institutional measures and investments it must make to make sure accuracy and equity in reporting. That dialog, although, gained’t be occurring. Each the media and the federal government will stroll away from this time in our historical past with their credibility eroded: Profoundly damaging our polity.​ Your information to the newest cricket World Cup tales, evaluation, reviews, opinions, reside updates and scores on https://www.firstpost.com/firstcricket/series/icc-cricket-world-cup-2019.html. Observe us on Twitter and Instagram or like our Facebook web page for updates all through the continued occasion in England and Wales. !function(f,b,e,v,n,t,s) {if(f.fbq)return;n=f.fbq=function() {n.callMethod? n.callMethod.apply(n,arguments):n.queue.push(arguments)} ; if(!f._fbq)f._fbq=n;n.push=n;n.loaded=!0;n.version='2.0'; n.queue=[];t=b.createElement(e);t.async=!0; t.src=v;s=b.getElementsByTagName(e)[0]; s.parentNode.insertBefore(t,s)}(window,document,'script', 'https://connect.facebook.net/en_US/fbevents.js'); fbq('init', '259288058299626'); fbq('track', 'PageView'); (function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = "http://connect.facebook.net/en_GB/all.js#xfbml=1&version=v2.9&appId=1117108234997285"; fjs.parentNode.insertBefore(js, fjs); }(document, 'script', 'facebook-jssdk')); window.fbAsyncInit = function () { FB.init({appId: '1117108234997285', version: 2.4, xfbml: true}); // *** here is my code *** if (typeof facebookInit == 'function') { facebookInit(); } }; (function () { var e = document.createElement('script'); e.src = document.location.protocol + '//connect.facebook.net/en_US/all.js'; e.async = true; document.getElementById('fb-root').appendChild(e); }()); function facebookInit() { console.log('Found FB: Loading comments.'); FB.XFBML.parse(); } Source link

[ameevenuti826-blog]

Social networking site Marketing

Social networking site has developed a popular presence as kind from advertising and marketing used by providers in countless industries worldwide. Using the search engine optimization speaking with most current modern technologies, the social media sites advertising firm will perform their research coming up with marketing tips, along with the greatest resources to utilize to place their customers website web pages on the very first webpage of the search engines, along with promote their products across numerous social networking internet sites. Initially, i will point out there are 3 big categories from web content marketing KPIs: 1) operational - what web content are you publishing, that is actually posting that, for what identity, what acquisition stage, and so on; 2) advertising - just how are you acquiring visitor traffic to your information, how many social allotments, how many incoming links; 3) performance - the number of people are actually viewing your material as well as how is this moving customers with the investment channel. Released quarterly as well as led by a prominent Content Board of social and digital media marketing experts, each quarterly 100-page concern gives extensive, practical short articles created by leading professionals on brand-new reasoning, strategies, approaches and patterns, plus the most up to date absolute best method and also thorough evaluation from exactly how top companies are actually using digital and also social media marketing around the globe. Being a leading social networks speaking with organization in India, the Social network marketing (SMO) campaign that we perform for our customers coming from India as well as off various other portion of the world When 93% of your target audience resides, eats and also breathes social networking sites, you may certainly not manage not to have a devoted social networking sites method that includes social media tools, networking websites and also neighborhoods to develop a buzz about your product. Finally, your goal within the social media network is to associate with as lots of folks as feasible. This includes tracking the volume of gos to, leads, and also clients to a website from the personal social network. Examine some completed accounts as well as base your worksheet products on them if you decide on a various social networking website. Facebook is actually a social media web site so socializing along with potential clients need to participate in a major part in these marketing developments instead of the basic adverts that are being actually posted at the moment. Fortunately with present technology and the omnipresent world of the internet participating in a much larger and much larger function in local business marketing, this has actually ended up being a lot easier to track efficiency of direct tasks as well as solution advertising. Social networking site really isn't about blasting your provider's purchases sound on social, it is actually a two-way channel where you have the option to enhance partnerships along with your consumers. Brian Carter, develops methods and constructs social advertising supporter bases for companies from all measurements, and is the writer of The Like Economy. The best preferred social networking sites network tasks ranged coming from publishing information, publishing as well as installing popular music, video recordings and also graphics. That might sound traditional for you, but taking advantage of weblogs as an advertising resource has actually been just one of the most strong web marketing tricks that a bunch of folks still carry out today. However, readership along with newspapers is still increasingly dedicated to print-only media. We desire to give small businesses on quick budgets a substitute to hiring a social media sites advertising firm or even purchasing social networks marketing solutions. They ready candidates for work in marketing and also Public Relations teams and firms, social networking sites companies and social media working as a consultants. This technique operates in virtually any type of social network as well as is particularly effective making use of a mix from Facebook Offers and Sponsored Updates. Marketing experts originally presumed that Facebook, YouTube, as well as Twitter will let them bypass conventional media and link directly along with consumers. In simple terms community service indicates work accomplished by certified individuals to aid those who are in demand. Pro tip: Use other social networking sites channels as a gateway to steer your followers to YouTube, by offering passages, snippets as well as sneak peeks of your online videos, as an example. The economic crisis triggered by the crisis from financial institutions all over the world is right now prompting a new wave from media advertising that is driven by smaller team as well as tighter finances. Just before that task she helped Tata Steel Europe as Marketing Communications Supervisor, Label Manager and also Product Manager. You are going to likewise have the ability to use our Article Coordinator account to source material and strategy that. Please deliver instances of your job. If you have any thoughts pertaining to the place and how to use yellow pages uk wiki (Suggested Online site), you can get in touch with us at our own internet site. Uploading on Reddit is actually playing with fire-- submit spammy or even openly sales-focused web content and your business could acquire lectured by this very tech-savvy area. Your company blog post can additionally function as your social media marketing blogging site, through which you blog concerning your current social networking sites attempts, contests, and events. The requirement for individuals which recognize business combined along with technology in Digital Advertising and marketing has never ever been actually higher. Social media site has this a measure better through making that connection personal by means of blog sites. This also allows marketing professionals to execute advertising campaigns even more effectively without needing to dive by means of hoops to obtain permissions for artistic, information, messaging, and so on Because SM internet site holding relies on content administration, that is actually the project of web hosts to supply a broad collection from devices for setting up as well as modifying Web web content. If you find just about anything that is actually fascinating for your fans, you could even upload a link to that on your Twitter webpage so that you are pointing others to premium information. Professional responsibility insurance, likewise called mistakes and also noninclusions or Eandamp; insurance, is like negligence insurance policy for marketing specialists, protecting you in the event of errors and also omissions helped make through you or your employees. The even more content you upload on Twitter, the much better off you're mosting likely to be actually. You have to post a great deal if you wish to create an effect. The social media advertising and marketing solutions offered by Vizz Media are going to enable in receiving expected clients and aid in marketing on the web labels and also items in search engines at the same time on the far-famed social networking websites like Twitter and Facebook. Social network sites like facebook are actually significantly leveraged today for the advertising and marketing initiatives. The spread of on the internet video creates this of the absolute most efficient tools in your advertising and marketing toolbox. Popular social networks like Facebook, Twitter, LinkedIn, and also various other socials media can provide online marketers with a tough number of exactly how big their reader is regardless a large viewers might not regularly equate right into a big purchases amounts.

[cassiepolk89404-blog]

Learn how to Create Children's Characters That Come To Life As well as Touch The Soul!

As any type of excellent reporter is going to inform you, that's best to let your resources tell the tale. Due to the opportunity he has the capacity to regulate the Monster, Kevin has essentially become the form of beast that a conventional comics hero will tackle, which seems to become Shyamalan's actual objective; similar to Durable (which possessed the variation that Samuel L. Jackson was actually the crook), he's looking into the psychology of what would certainly bring in a person come to be a maniacal bad guy. Obviously, we all like a good secret and also sometimes our experts could not assist yet position intricate and also skillfully created plots to rear the level of surprise in a story. If you liked this report and you would like to acquire far more data pertaining to yellow pages advert 1992, nutri-facts02.pl, kindly stop by our own internet site. I am actually writer and publisher from home entertainment web sites, creating excellent short articles with good content and obtaining greatest feedback coming from my visitors this time i am actually composing one film in write-up in articles factory, becasue i passion to write the articles. The actor - which played Edward Phillipe Mott in the docu-series, the gay art debt collector who to begin with developed the house - had joined affection and at some point wedded Audrey Tindel, the actress that participated in Lee Shelby in the significant reenactments for My Roanoke Headache. I initially saw Ben, my on, off and also right now surmised love from twenty years coming from a hallway while he beinged in his workplace behind his workdesk. His abusive alcoholic papa abducts Huck from his foster family members, not for passion however to claim Huck's located lot of money. Right here is actually the dance" twist to this tale - Mary as well as George have been actually living together for nearly a year today - as well as they are not married. The Ultimate Follower Solution: If American Scary Tale supporters could throw a prom, they will crown Evan Peters and Sarah Paulson its master and also queen. Constantly ensure your tale delivers the twist without making the audience think revealed. The cannibal, incestuous hillbilly Polk family members which are actually abusing the rest of the actors and gradually consuming parts of Adina Porter keep in mind the series is contacted United States Scary Tale, and make a decision to inform the tale from just how they became which they are. And they are actually the trump card behind those memorable story spins that wow visitors as well as acquire published. Whatever your writing target is actually - whether that's to become a successful author, a prosperous screenwriter, to win a narrative competitors, to compose for a nationwide newspaper or even publication, or even simply to end up something you have actually begun, you should want this a lot that the idea of that motivates a physical response in you, as well as the absence from it creates you each mental and bodily pain. Another author certainly not to become dismissed is actually Jacqueline Wilson, a writer from kids's books; also with 4 labels of difference: The Story From Tracy Beaker, Dual Act, Vicky Guardian and Girls Crazy. A fan from Alfred Hitchcock, the writer's nineteen stories weave, in some cases unaware along with pointy things in hand, leading audiences to both distressing and funny spots. Middle-aged Pi pertains his survival account with an embellishment from fantastical information, including his expanding relationship with the leopard, Richard Parker. Tourists, service managers and also famous people exploring Tokyo find in Bedroom a good little piece from haven off the endlessing madness that is actually Tokyo. Begin along with a personality and also allow this person have you where they wish to go-then when the tale is actually composed, modify, condition and also tighten your nonfiction. As a writer, it's important that I try to create a rational, typically erratic finishing that lock up all the primary jobs half-done. For the fiction author, having a tale plan, whether for a short story, unfamiliar or even screenplay, ensures you maintain your own self on course, not blowing winding off down stumbling blocks and also blind alleys. Audiences love to become postponed the fragrance and also inappropriate footed along with a smart and also unanticipated spin in the tale. Always remember the ethical to your story: the point the tale tells about you (as well as your organization), your abilities and credit histories. You need to probably supply additional components that are actually not directly pertaining to your organized physical exercises, just in case your students will certainly create innovative concepts and require components to realize all of them. Take down ten manner ins which personality can hold back crucial info in your next plot. Little ones adore that considering that that seems like they are actually mistaking, and you can easily enjoy this since that mess" dries out swiftly. British actor Anthony Newley played the character in a 1948 movie modification of the tale. And also in the end you'll receive suggestions for developing that subtly tricking narrator for the spin your reader never ever saw coming. Made in 1947, this has to do with Kris Kringle which is actually termed outrageous for presuming he is actually Santa Claus, when he really is. Nonetheless, after some dazzling acting and also a terrific tale all is actually repaired and Christmas time can easily continue. American Scary Tale producer Brad Falchuk told Entertainment Weekly that the time was actually split right into 3 section. Sometimes writers aren't sure just what their end is actually going to be since they have failed to organize it out. As a result this was actually with a lot trepidation that I mosted likely to see this paddling clean model from the Oliver Twist flick as well as the good news is I was not unhappy. If you yearn for to blend your affection from record along with your design watercraft property capacity, it is actually also outstanding. For example rather than the 3 Little Pigs" he would tell the tale from the 3 Little bit of Sows". He is actually The Embellisher due to the fact that the story spin in Life from Private detective rests on these decorations. So, as opposed to diving straight in to your draft, definitely deal with your story at structure level - as well as examine out the stories that resemble all yours, given that I may ensure there certainly will certainly be some. Nonetheless, mastery the procedure friended to the correct motif for your story provides you a true bare possibility of magazine. This course looks at why you have to raise ideas in your story if you want to satisfy your viewers. Making a brand new twist on an aged game make an effort affixing mermaid airfoils on a mermaid instead of a tale on a donkey. For instance, when I was an editor at a sizable business-to-business e-newsletter posting firm, I commonly had numerous write-ups, pulled out the main points and also mixed the details to produce one short, defined post. The entire tale accumulates a feeling from mythological nuisance, only to disclose an individual organization responsible for it all. Your goal, ought to you choose to allow that, is to have these characters as well as generate your very own surprise ending. Whether he's a skillful liar or simply innocent, the undependable storyteller doesn't say to the complete story. In each cycle write your personalities (or notions) about the story (or even central style). EC Comic books off the 1950s were actually well-known for their spin closings if you are actually not ruling out pictorial quick stories.