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One of my favorite books that I used to teach.

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One of my favorite books that I used to teach.

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About the start of KKK in the South after WWI (reconstruction era)

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About the start of KKK in the South after WWI (reconstruction era)

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‘Wilmington’s Lie’ Author Traces The Rise Of White Supremacy In A Southern City

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Journalist David Zucchino says Wilmington, N.C., was once a mixed-race community with a thriving black middle class. Then, in 1898, white supremacists staged a murderous coup that changed everything.

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Discover and share books you love on Goodreads.

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"Lepore's brilliance lies in knowing what to do with the material she has. In her hands, the Wonder Woman story unpacks not only a new cultural history of feminism, but a theory of history as well." -Carla Kaplan, New York Times Book Review

"Ms. Lepore's lively, surprising and occasionally salacious history is far more than the story of a comic strip. The author, a professor of history at Harvard, places Wonder Woman squarely in the story of women's rights in America-a cycle of rights won, lost and endlessly fought for again. Like many illuminating histories, this one shows how issues we debate today were under contention just as vigorously decades ago, including birth control, sex education, the ways in which women can combine work and family, and the effects of 'violent entertainment' on children. 'The tragedy of feminism in the twentieth century is the way its history seemed to be forever disappearing,' Ms. Lepore writes. Her superb narrative brings that history vividly into the present, weaving individual lives into the sweeping changes of the century." -Carol Tavris, The Wall Street Journal

"After years of sifting through unpublished letters and diaries, Lepore has written the authoritative work on William Moulton Marston, a Harvard-educated psychologist best known for two things: inventing the lie detector test and creating the world's most famous superheroine. Lepore's careful detective work reveals a man of fascinating contradictions. . . . The Secret History of Wonder Woman is the fullest and most fascinating portrait ever created about the complicated, unconventional family that inspired one of the most enduring feminist icons in pop culture. . . . In [Lepore's] hands, The Secret History of Wonder Woman is its own magic lasso, one that compels history to finally tell the truth about Wonder Woman-and compels the rest of us to behold it." -Laura Hudson, Los Angeles Times

"The Secret History of Wonder Woman relates a tale so improbable, so juicy, it'll have you saying, 'Merciful Minerva!' . . . an astonishingly thorough investigation of the man behind the world's most popular female superhero. . . . Lepore has assembled a vast trove of images and deploys them cunningly. Besides a hefty full-color section of Wonder Woman art in the middle, there are dozens of black-and-white pictures scattered throughout the text. Many of these are panels from Marston's comics that mirror events in his own life. Combined with Lepore's zippy prose, it all makes for a supremely engaging reading experience." -Etelka Lehoczky, NPR

"If it makes your head spin to imagine a skimpily clad pop culture icon as (spoiler alert!) a close relation of feminist birth control advocate Margaret Sanger, then prepare to be dazzled by the truths revealed in historian Jill Lepore's The Secret History of Wonder Woman. The story behind Wonder Woman is sensational, spellbinding and utterly improbable. Her origins lie in the feminism of the early 1900s, and the intertwined dramas that surrounded her creation are the stuff of pulp fiction and tabloid scandal. . . . It took a super-sleuth to uncover the mysteries of this intricate history, hidden from view for more than half a century. With acrobatic research prowess, muscular narrative chops and disarming flashes of humor, Lepore rises to the challenge, bringing to light previously unknown details and deliberately obfuscated connections." -Audrey Bilger, San Francisco Chronicle

"On the one hand, the story [ The Secret History of Wonder Woman] relates has more uplift than Wonder Woman's invisible airplane or her eagle-encrusted red bustier. It's a yea-saying tale about how this comic book character, created in 1941, remade American feminism and had her roots in the ideas and activism of Margaret Sanger, the founder of Planned Parenthood. On the other hand, The Secret History of Wonder Woman is fundamentally a biography of Wonder Woman's larger-than-life and vaguely creepy male creator, William Moulton Marston. . . . [Lepore] fully tells Marston's history for the first time, as well as the complete history of how so many crisp feminist ideas made their way into Wonder Woman comics. It's complicated material that she capably explores. . . . There are many profitable detours in this book: the history of female cartoonists; the moral panic over comics and juvenile delinquency; a history of the feminist movement." -Dwight Garner, The New York Times

"Lepore specializes in excavating old flashpoints-forgotten or badly misremembered collisions between politics and cultural debates in America's past. She lays out for our modern sensibility how some event or social problem was fought over by interest groups, reformers, opportunists, and 'thought leaders' of the day. The result can look both familiar and disturbing, like our era's arguments flipped in a funhouse mirror. . . . Besides archives and comics Lepore relies on journalism, notebooks, letters, and traces of memoir left by the principals, as well as interviews with surviving colleagues, children, and extended family. Her discipline is worthy of a first-class detective. . . .Lepore convinces us that we should know more about early feminists whose work Wonder Woman drew on and carried forward. . . . A key spotter of connections, Lepore retrieves a remarkably recognizable feminist through-line, showing us 1920s debates about work-life balance, for example, that sound like something from The Atlantic in the past decade." -New York Review of Books

"Even non-comix nerds (or those too young to remember Lynda Carter) will marvel at Jill Lepore's deep dive into the real-world origins of the Amazonian superhero with the golden lasso. The fact that a polyamory enthusiast created her partly as a tribute to the reproductive-rights pioneer Margaret Sanger is, somehow, only the fourth or fifth most interesting thing in Ms. Woman's bizarre background.""With a defiantly unhurried ease, Lepore reconstructs the prevailing cultural mood that birthed the idea of Wonder Woman, carefully delineating the conceptual debt the character owes to early-20th-century feminism in general and the birth control movement in particular. . . . Again and again, she distills the figures she writes about into clean, simple, muscular prose, making unequivocal assertions that carry a faint electric charge . . . [and] attain a transgressive, downright badass swagger.""Deftly combines biography and cultural history to trace the entwined stories of Marston, Wonder Woman, and 20th-century feminism. . . . Lepore-a professor of American history at Harvard, a New Yorker writer, and the author of Book of Ages-is an endlessly energetic and knowledgeable guide to the fascinating backstory of Wonder Woman. She's particularly skillful at showing the subtle process by which personal details migrate from life into art." -Christian Science Monitor

"This captivating, sometimes racy, charming illustrated history is one part biography of the character and one part biography of her fascinating creator, psychologist and inventor William Moulton Marston-an early feminist who believed, way before his time, that the world would be a better place if only women were running it. . . . In the process of bringing her 'superhero' to life in this very carefully researched, witty secret 'herstory,' Lepore herself emerges as a kind of superheroine: a woman on a mission-as energetic, powerful, brilliant and provocative as her subject." -Meredith Maran, Good Housekeeping
"This book is important, readable scholarship, making the connection between popular culture and the deeper history of the American woman's fight for equality. . . . Lepore restores Wonder Woman to her rightful and righteous place." -Jeffrey Ann Goudie, The Kansas City Star

"Jill Lepore's generously illustrated The Secret History of Wonder Woman impressively links the iconic superhero's 1941 creation by William Moulton Marston (also the inventor of the lie detector) both to the aims of mid-twentieth-century feminism and to the influential Marston family's deep domestic intrigues." - Elle

"An engaging, well-researched look at the unconventional family behind the character and stories of Wonder Woman....Lepore handles her potentially thorny topic well and manages to avoid being salacious or gossipy. . . . Fans interested in the background of the character and readers who appreciate well-written popular history will enjoy this thought-provoking volume." - Library Journal

"Relegated to second-class status in her kitschy later years, long overshadowed by her male colleagues in the Justice League, the exiled Amazonian goddess is rescued and recast as the missing link of the feminist movement. She was created by William Moulton Marston: rogue psychologist, inventor of the lie-detector test, and head of a polyamorous household that included the niece of birth-control pioneer Margaret Sanger. In wartime, she was a Rosie the Riveter in actual combat. It's an origin story far deeper, weirder, and kinkier than anything a cartoonist ever invented." - Vulture, 8 Books You Need to Read This October

"The story of William Moulton Marston, the Harvard-trained psychologist, inventor of the first lie-detector test, and creator of Wonder Woman for DC Comics, is at once inspiring and disheartening. His unlikely career shows us (among other things) that the qualities that make it possible to innovate-swagger, cleverness, tenacity-are the same ones that can render a person hopelessly out of sync with the reigning strictures of the times." - Bookforum

"Fascinating . . . often brilliant. . . . Through assiduous research (the endnotes comprise almost a third of the book and are often very interesting reading), Lepore unravels a hidden history, and in so doing links her subjects' lives to some of the most important social movements of the era. It's a remarkable, thought-provoking achievement." -Alden Mudge, Bookpage

"The Marston family's story is ripe for psychoanalysis. And so is The Secret History, since it raises interesting questions about what motivates writers to choose the subjects of their books. Having devoted her last work to Jane Franklin Mecom, Benjamin Franklin's sister, Lepore clearly has a passion for intelligent, opinionated women whose legacies have been overshadowed by the men they love. In her own small way, she's helping women get the justice they deserve, not unlike her tiara'd counterpart. . . . It has nearly everything you might want in a page-turner: tales of S&M, skeletons in the closet, a believe-it-or-not weirdness in its biographical details, and something else that secretly powers even the most 'serious' feminist history-fun." -Entertainment Weekly

"Hugely entertaining. . . . Lepore calls Wonder Woman the missing link between the first and second waves of feminism, as they're known-that is, between the suffragist era that so inspired Marston and the 1970s women's-liberation movement. . . . She's right that the imagery of waves and troughs overlooks the complicated ways that movements make advances even when no one's looking-even as daily lives seem stuck and society seems to be moving backwards." -Katha Pollitt, The Atlantic

"Lepore has an astonishing story and tells it extremely well. She acts as a sort of lie detector, but proceeds through elegant narrative rather than binary test. Sentences are poised, adverbs rare. Each chapter is carefully shaped. At a time when few are disposed to see history as a branch of literature, Lepore occupies a prominent place in American letters. Her microhistories weave compelling lives into larger stories.""In the spirited, thoroughly reported The Secret History of Wonder Woman, Jill Lepore recounts the fascinating details behind the Amazonian princess' origin story. . . .[Lepore]seamlessly shifts from the micro to the macro. . . . A panel depicting this labor unrest is just one of scores that appear throughout Lepore's book, further amplifying the author's vivid prose." "A Harvard professor with impeccable scholarly credentials, Lepore treats her subject seriously, as if she is writing the biography of a feminist pioneer like Margaret Sanger, the founder of the birth control movement-which this book is, to an extent. . . . Through extensive research and a careful reading of the Wonder Woman comic books, she argues convincingly that the story of this character is an indelible chapter in the history of women's rights." -Miami Herald

" The Secret History of Wonder Woman is as racy, as improbable, as awesomely righteous, and as filled with curious devices as an episode of the comic book itself. In the nexus of feminism and popular culture, Jill Lepore has found a revelatory chapter of American history. I will never look at Wonder Woman's bracelets the same way again." -Alison Bechdel, author of Fun Home
"Jill Lepore's obsessively researched book on Wonder Woman, the four-color embodiment of the women's rights movement, reveals that the life of the character's creator, Dr. William Marston-inventor of the lie detector, charming crank, ardent feminist and secret polygamist-was waaay more colorful than any comic book superhero. Suffering Sappho!" -Art Spiegelman, author of Maus
"An absolutely unputdownable book. The life history of polymath charlatan and/or genius (I couldn't ever decide) William Moulton Marston, who worked his way through law, movie scenarios, lie detection, ménages a trois, free love, BDSM and polygamy before creating the first feminist super-person had me saying 'wow' practically every other page. And that's not even mentioning the tough-as-nails women he exalted, lifted from and, uh, shared who make up the molten core of this newly-revealed story. Rocketing from the suffragism of the 1910s to the ERA of the 1970s on a wave of home-spun pop culture righteousness, this story's head-spinning weirdness ultimately makes you question your own accomplishments, aims, and-almost like a great modern novel-your real motives." -Chris Ware, author of Building Stories

"Lepore restores Wonder Woman to her rightful place as an essential women's rights icon in this dynamically researched and interpreted, spectacularly illustrated, downright astounding work of discovery that injects new zest into the history of feminism." - Booklist, starred review
"It's an irresistible story, and the author tells it with relish and delight." - Kirkus Reviews

"Wonder Woman, feminist hero, was the creation of a husband and wife who led, on the surface, average existences. Behind the mask, however, they had extraordinarily unconventional lives. It takes Harvard professor and New Yorker writer Lepore to dig into the complicated story behind the lasso (of truth), and forgive me for sounding like Upworthy, but it's true: what she uncovers will shock you. Let's just say that Wonder Woman's S&M subtext was there for a reason." - Flavorwire, 25 Must-Read Books for the Fall

New York Historical Society American History Book Prize WINNER 2015

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The Secret History of Wonder Woman by Jill Lepore: 9780804173407 | PenguinRandomHouse.com: Books

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NATIONAL BESTSELLER * Within the origin of one of the world's most iconic superheroes hides a fascinating family story-and a crucial history of feminism in the twentieth-century. "Everything...

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How and why the Dodgers came to the L.A.

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How and why the Dodgers came to the L.A.

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(Regional History Center)

In Chavez Ravine, this would normally be a time for baseball. Barring the 1995 MLB season, which was shortened due to a strike, this is the first time since 1961, the year before Dodger Stadium opened, that the arrival of spring in Los Angeles hasn't been heralded by the roar of 56,000 fans, some of them gleefully playing hooky. For now, the stadium remains gated and eerily quiet. It's as if it's not even there.

The author Eric Nusbaum has been imagining a world with no Dodger Stadium since he was a junior at Culver City High School in 2002. That was when an older man named Frank Wilkinson showed up to give a guest lecture to Nusbaum's history class and said, "Dodger Stadium should not exist."

"I remember at the time being blown away," says Nusbaum. He is taking a video call in a closet, his "little sanctuary of book promotion," as he waits out the COVID-19 pandemic at home with his wife and children in Tacoma, Wash. "I was the kind of kid who read the sports page every day. Maybe because I was such a big Dodger fan, I had willfully ignored it." What he means is the dark history of the land where the stadium sits, the subject of his new book, " Stealing Home: Los Angeles, the Dodgers, and the Lives Caught in Between."

The story has roots in Wilkinson's tenure as a public-housing official in the early 1950s. He was one of the central players in the bureaucratic nightmare that was Elysian Park Heights, a failed housing project initiated in Chavez Ravine.

Eminent domain was used to serve evictions, offering measly compensation, across three largely Mexican American neighborhoods in the hills above Echo Park - Palo Verde, La Loma and Bishop. After Wilkinson was fired for Communist associations during the Red Scare, the project went down with him. The mostly cleared-out land sat in limbo for years before an all-American solution was found: Walter O'Malley and his Dodgers needed a new home.

"Stealing Home" is a scrupulously detailed account, written in novelistic, economical prose and featuring people like Wilkinson and O'Malley but focusing on those "lives caught in between." Mostly it's about the Aréchiga family, who became symbols of "the Battle of Chavez Ravine" when photos of them being forced out, some literally kicking and screaming, were widely circulated. They sat across the street and watched in horror as the city bulldozed their hand-built family home of nearly 40 years.

Now almost 60 years in the past, this chapter of Dodger history becomes less tangible every season. Angelenos might have seen the 2003 Culture Clash play " Chavez Ravine" or stumbled across Don Normark's 1999 book of photos, " Chavez Ravine: 1949," but it just doesn't come up all that often. Today, Dodger fandom is one of the few civic identities that unify almost all demographics, and the stadium, with its cotton-candy sky good enough to eat, as Vin Scully would say, offers a magical oasis of tranquility right in the middle of the city.

"I don't think that it's that fun to go to a Dodger game and tap your neighbor on the shoulder and say, 'There used to be a neighborhood here,'" Nusbaum says. "It's a hard thing to be able to hold both the joy of Dodger baseball and the tragedy that preceded it in your heart at the same time."

Nusbaum and I had planned to tour points of interest related to the book. But after his press trip to L.A. was canceled he provided an annotated driving tour instead: a stretch of homes on North Boylston Street, by the stadium's Scott Avenue entrance; the Police Academy; the Elysian Park Recreation Center; the Historic Mission San Conrado.

On Boylston sits a tiny residential patch that was spared from development, which makes it possible to imagine what the other communities might look like today. Winding up away from the stadium toward Academy Road, these few holdouts vary from modest starter homes to upscale bohemian playgrounds, not too different from contemporary Echo Park. By the Police Academy is a vestigial half-block of Malvina Avenue, the Aréchigas' old street. (Their home would've been somewhere near the northern edge of the stadium parking lot.) Envisioning sprawling, vibrant neighborhoods in these spots is an almost brutal what-if exercise.

But Nusbaum's history is more than just a nostalgic paean or a jeremiad; the history of public housing and so-called "slum clearance" is too tangled for that. Nusbaum is mindful of the fact that it was the city, not the team, that kicked the families out. And the city's initial intentions were ostensibly noble.

"It is the conundrum," says Jan Breidenbach, a professor at Occidental College who teaches the episode of Chavez Ravine and knew Wilkinson before his death in 2006. "Do we leave people to live in slums? Or do we do something to build housing for people who need it? I fall on the side that shelter is a public good, and it's a public responsibility. ... But I cannot tell you how upset I would be if they took my house."

Some have taken issue with the idea that these neighborhoods were slums. It is true that the neighborhoods weren't well equipped with proper plumbing and paved roads, but that was largely a result of the city's own neglect. And the legacy of housing projects initiated back then is mixed at best; by most accounts, more units were torn down than built.

In any event, Nusbaum keeps the book's focus personal. "Ultimately, [the Aréchigas] were real people who did a lot of really difficult and amazing things to make a life for themselves and for their family," Nusbaum says. "What happened is that the government took their home, sold it to a private enterprise, and then kicked them out of it. ... And the fact that they were immigrants is probably a big part of why that happened to them."

In 2000 Bob Graziano, then-president of the Dodgers, extended literal olive branches to members of the three neighborhoods and their descendants, whom he praised for "not forgetting the past, but forgiving the past." Since that time, however, the team hasn't made continuing efforts to acknowledge that past. On the "stadium history" section of the Dodgers' website, history simply begins with the park being "carved as it is into the hillside of Chavez Ravine." (The Dodgers did not respond to several requests for comment regarding this story.)

"I think the Dodgers should apologize," says Nusbaum. "I think the city should apologize. I think the county should apologize. I think all three entities should work with members of those communities and their descendants on some sort of formal way to make amends."

One such descendant, Edward Santillan, has found a way to move on. His father, Lou, was born in Chavez Ravine (Lou claimed that his umbilical cord was buried beneath third base), and never forgave the team. But Edward didn't let that stop him from becoming a fan. He's also worked for the city for decades, supervising a parking garage at City Hall. (Nusbaum included City Hall in his driving tour.)

"I can't see myself rooting for the San Francisco Giants or whatever," Santillan says. "It's gonna be my home team."

Before his death in 2014, Lou Santillan organized an annual reunion for Los Desterrados - "The Uprooted" - at the Elysian Park Recreation Center. Edward has since taken an active role in maintaining the event.

"It's the newer generations that have sparked an interest in Chavez Ravine," Santillan points out. He says younger people have started attending the reunions, interested in learning more about what Palo Verde, La Loma and Bishop were like. "But at the same time the Dodger blue tradition continues. It's a mixed feeling."

Santillan has two young daughters and he takes them to games, where he tells them the story about his father and grandparents and the umbilical cord beneath third base. "You get older," Santillan says. "Things start coming into perspective. It all makes a full circle."
Rogers is a writer and editor in Los Angeles.

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'Stealing Home' revisits Dodger Stadium's nefarious origins

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Eric Nusbaum's "Stealing Home" follows a family displaced from Chavez Ravine, where Dodger Stadium was built.

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This will be a movie soon.

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From Wikipedia, the free encyclopedia

Killers of the Flower Moon: The Osage Murders and the Birth of the FBI is a 2017 nonfiction book by American journalist David Grann. magazine listed Killers of the Flower Moon as one of its top ten nonfiction books of 2017. An earlier novel on the same topic, by Chickasaw author Linda Hogan, called Mean Spirit, was nominated for the Pulitzer Prize for fiction in 1991.

The book investigates a series of murders of wealthy Osage people that took place in Osage County, Oklahoma, in the early 1920s-after big oil deposits were discovered beneath their land. After the Osage are awarded rights in court to the profits made from oil deposits found on their land, the Osage people prepare to receive the wealth to which they are legally entitled from sales of their oil deposits.

The Osage are viewed as the "middle man" and a complex plot is hatched to eliminate the Osage inheritors on a one-by-one basis by any means possible. Officially, the count of the wealthy Osage victims reaches at least twenty, but Grann suspects that hundreds more may have been killed because of their ties to oil. The book details the newly formed FBI's investigation of the murders, as well as the eventual trial and conviction of cattleman William Hale as the mastermind behind the plot.

The review aggregator website Book Marks indicated that overall Killers of the Flower Moon received rave reviews from literary critics.

Writing for The New York Times, Dave Eggers called the book "riveting" and wrote, "in these last pages, Grann takes what was already a fascinating and disciplined recording of a forgotten chapter in American history, and with the help of contemporary Osage tribe members, he illuminates a sickening conspiracy that goes far deeper than those four years of horror. It will sear your soul."

Sean Woods of Rolling Stone praised Grann's book, noting, "In his masterful new book...Grann chronicles a tale of murder, betrayal, heroism and a nation's struggle to leave its frontier culture behind and enter the modern world... Filled with almost mythic characters from our past - stoic Texas Rangers, corrupt robber barons, private detectives, and murderous desperadoes like the Al Spencer gang - Grann's story amounts to a secret history of the American frontier."

A reviewer of Publishers Weekly stated, " staff writer Grann (The Lost City of Z) burnishes his reputation as a brilliant storyteller in this gripping true-crime narrative, which revisits a baffling and frightening-and relatively unknown-spree of murders occurring mostly in Oklahoma during the 1920s."

David Aaronovitch in wrote, "There is a kick-in-the guts half-twist at the end of the book that gives the work its moral heft and reminds the American people of the great cost of their nationhood. It's a twist that owes everything to Grann's diligence and intelligence as a journalist. It could not have been discovered without what he calls his 'research odyssey.'"

The book was adapted into a film directed by Martin Scorsese and starring Leonardo DiCaprio, Robert De Niro, Lily Gladstone, Brendan Fraser, and Jesse Plemons on a budget of over $200 million. It will be released theatrically by Paramount Pictures and stream on Apple TV+ in 2023.

Though the role of Tom White, the lead FBI agent, was initially written for DiCaprio, DiCaprio pushed to have his role changed to the nephew of the film's primary antagonist, who will be played by De Niro. As a result, Jesse Plemons was cast as Tom White to replace DiCaprio, while DiCaprio was cast as Ernest Burkhart.

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From Wikipedia, the free encyclopedia Killers of the Flower Moon: The Osage Murders and the Birth of the FBI is a 2017 nonfiction book by American journalist David Grann. magazine listed Killers of the Flower Moon as one of its top ten nonfiction books of 2017.

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Denise Kiernan (Author), Cassandra Campbell (Narrator), Audible Studios (Publisher) & 0 more

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The Girls of Atomic City: The Untold Story of the Women Who Helped Win World War II

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Amazon.com: The Girls of Atomic City: The Untold Story of the Women Who Helped Win World War II (Audible Audio Edition): Denise Kiernan, Cassandra Campbell, Audible Studios: Books

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Women involved in making the atomic bomb

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Women involved in making the atomic bomb

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"Their Day in the Sun: Women of the Manhattan project" is really two stories packed in one:

The first story is a cursory survey of the contributions made by women to the Manhattan project. An outsider might think that the focus of the book would be women in nuclear physics, but really the Manhattan project required physicists, engineers, chemists, mathematicians, technicians, and information specialists of every kind, and women made their contributions to the project at all levels and in all areas. If you are delighted to read about 17-year-old (!) female geeks discovering new chemical elements, you will be amazed to reflect that this was carried out in the 1920's and 1930's! Indeed the Manhattan project required a great many eccentric, highly-gifted, and highly-specialized people of both genders: A project so novel, at the cutting edge of science and technology, on an impossibly-tight schedule, cannot afford to overlook "the other 50% of Mankind". This brings us to the second story in the books, which too begins right from page 1:

The Manhattan project was not carried out in a social vacuum, and the urgency of the project only partially cut through the social prejudices of the era. The second story is about how society, even the supposedly enlightened scientific society, treats women who knock at its doors: Both in Europe and the US, females in the sciences were rare, and prejudices about them were commonplace. But there were considerably more women in the sciences in Europe than in the US, and prejudice in the US against women in science was such that even a Nobel Laureate in physics was denied recognition and honor in American universities. Women who completed PhD's could work as professors only in female-only institutions. Until the 1930's it was understood that female researchers in the sciences should be unmarried, as the household duties of a married female scientist would render her scientific work to the place of a hobby. Females were not permitted to devote their time to science: There was actually a law that prohibited women from working more than 40 hours per week. Female scientists received significantly lower pay for their work, and the general attitude was such that they should be grateful for being allowed to work at all.

In many instances, women were denied credit for their scientific accomplishments, and their names were not listed among the project members. The authors of this book had to excavate names and details of accomplishments by speaking to known past and present members of the scientific community, and reconstructing the information about who carried out what work.

Not all women worked in scientific areas. Some were spouses of scientists who were working in the Manhattan project, and the army, who directed the project, preferred to hire spouses to carry out any additional work needed. Some were [female] scientists who were not taken for work in their area of research, but given instead responsibilities that were both outside and below their area of expertise: teaching (at schools for the children of the families working with the project), secretarial, library & information management. Some of this bore surprising fruit: When a PhD in chemistry is given work as a librarian, and decides to use her spare time to compile various indexes of toxic chemicals used in chemical warfare, this is a useful contribution that could not have been expected from a professional librarian with no in-depth knowledge of chemistry.

This is not a book about science, and it's not even a book about the Manhattan project, in the sense that you will not get a full picture of the parts of the project and how they fit together. This is a book about women between the 1920's and 1950's: What it means for a female to have an interest in the sciences, how will she be received by her [often unwilling, if not condescending] peers, how will she be treated, how will her career progress, how [if it all] will she be recognized. The book is a humble reminder that the scientific community is only a tad bit more enlightened about matters of gender and equality than the rest of the population. The pressing need to complete the Manhattan project opened for women the doors to the halls of science and technology, but just enough for a few women to squeeze in, and not enough to prevent exploitation and sexism.

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Their Day in the Sun: Women of the Manhattan Project (Labor And Social Change)

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The public perception of the making of the atomic bomb is yet an image of the dramatic efforts of a few brilliant male scientists. However, the Manhattan Project was not just the work of a few and it was not just in Los Alamos. It was, in fact, a sprawling research and industrial enterprise that ...

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Nhà giáo dục Giản Tư Trung hiện là Hiệu trưởng Trường Doanh Nhân PACE, Viện trưởng Viện Giáo dục IRED, Phó Chủ tịch Quỹ Văn hóa Phan Châu Trinh, Trưởng Ban Tổ chức Giải thưởng Sách Hay và Chủ nhiệm IPL Scholarship (Học bổng Lãnh đạo Khai phóng dành cho Doanh nhân trẻ).

Thầy nhận bằng Thạc sĩ về Nghiên cứu Phát triển tại Học viện Sau Đại học Geneva; Tu nghiệp về Chính sách giáo dục quốc tế tại Đại học Harvard; Tốt nghiệp Tiến sĩ về Giáo dục tại Học viện Giáo dục Quốc gia Singapore; và tốt nghiệp Tiến sĩ về Giáo dục tại Đại học London (UCL).

Với những cống hiến to lớn của Thầy cho giáo dục, Diễn Đàn Kinh Tế Thế Giới đã vinh danh Thầy là một Nhà lãnh đạo toàn cầu trong vai trò là một Nhà hoạt động giáo dục.

Năm 2015, thầy Giản Tư Trung ra mắt độc giả cuốn sách "Đúng Việc - Một góc nhìn về câu chuyện khai minh". Cho đến nay, cuốn sách này đã được tái bản đến 11 lần cho thấy sức sống mạnh mẽ của tác phẩm này.

Thế nên, cuộc trò chuyện ở Have A Sip hôm nay sẽ xoay quanh về một số nội dung đã được Thầy tâm huyết viết ra: "Ta là ai?", "Tìm mình là tìm gì?", "Sống để làm gì?", "Con người thì khác gì với muông thú, cỏ cây và máy móc"... Chúng ta cùng nhau đi tìm câu trả lời cho những câu hỏi lớn của cuộc đời thông qua tập podcast này nhé!

Have A Sip được dẫn dắt bởi host Thùy Minh.

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Podcast Thầy Giản Tư Trung: 3 điều cần tìm để biết mình là ai - Have A Sip 113

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Nhà giáo dục Giản Tư Trung hiện là Hiệu trưởng Trường Doanh Nhân PACE, Viện trưởng Viện Giáo dục IRED, Phó Chủ tịch Quỹ Văn hóa Phan Châu Trinh,

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Let's Talk About Myths, Baby! A Greek and Roman Mythology Podcast

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Let’s Talk About Myths, Baby! A Greek and Roman Mythology Podcast

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A Greek and Roman mythology podcast. Liv, a mythology geek tell stories of different myths in an honest, liberal, millennial way. Gods, goddesses, heroes, monsters, and everything in between.

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The classic heartwarming tale from Kate DiCamillo-now with an afterword from the beloved author, reflecting on twenty years in print

One summer's day, ten-year-old India Opal Buloni goes down to the local supermarket for some groceries-and comes home with a dog. But Winn-Dixie is no ordinary dog. It's because of Winn-Dixie that Opal begins to make friends. And it's because of Winn-Dixie that she finally dares to ask her father about her mother, who left when Opal was three. In fact, as Opal admits, just about everything that happens that summer is because of Winn-Dixie. This updated edition of Kate DiCamillo's classic novel invites readers to make themselves at home-whether they're experiencing the book for the first time or returning to an old favorite.

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Because of Winn-Dixie [DiCamillo, Kate] on Amazon.com. *FREE* shipping on qualifying offers. Because of Winn-Dixie

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Football's funniest family duo - Jason Kelce from the Philadelphia Eagles and Travis Kelce from the Kansas City Chiefs - team up to provide next-level access to life in the league as it unfolds. The two brothers and Super Bowl champions drop weekly insights about their games and share unique perspectives on trending NFL news and sports headlines.

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True Crime Daily The Podcast

True Crime Daily: The Podcast" host Ana Garcia goes in-depth on some of the week's biggest true crime stories, as well as the ones you might have missed. Ana, recently named podcast host of the year by The LA Press Club, is joined by crime experts, police officers, defense attorneys, and other leading authorities in their fields as they cover murders, scams, investigations, and unsolved crimes from across the country. True Crime Daily has the largest and most active true crime digital community in the world, with more than 5 million subscribers on YouTube and more than 3 million fans on Facebook. Join us each week as we take you inside the biggest, most shocking, and most bizarre true crime cases.

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Ana Garcia is a hard-hitting, nationally recognized TV journalist and host. Her unique storytelling style has earned her eight Emmy Awards and 10 Golden Mikes, and she's been named TV Journalist of the Year a record five times by the Los Angeles Press Club.

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True Crime Daily: The Podcast" host Ana Garcia goes in-depth on some of the week's biggest true crime stories, as well as the ones you might have missed. Ana, recently named podcast host of the year by The LA Press Club, is joined by crime experts, police officers, defense attorneys, and other leading authorities in their fields as they cover murders, scams, investigations, and unsolved crimes from across the country.

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The Fault in Our Stars is a novel by John Green. It is his fourth solo novel, and sixth novel overall. It was published on January 10, 2012. The title is inspired by Act 1, Scene 2 of Shakespeare's play Julius Caesar, in which the nobleman Cassius says to Brutus: "Men at some time were masters of their fates, / The fault, dear Brutus, is not in our stars, / But in ourselves, that we are underlings." The story is narrated by Hazel Grace Lancaster, a 16-year-old girl with thyroid cancer that has affected her lungs. Hazel is forced by her parents to attend a support group where she subsequently meets and falls in love with 17-year-old Augustus Waters, an ex-basketball player, amputee, and survivor of osteosarcoma.

An American feature film adaptation of the same name as the novel directed by Josh Boone and starring Shailene Woodley, Ansel Elgort, and Nat Wolff was released on June 6, 2014. A Hindi feature film adaptation of the novel, titled Dil Bechara, which was directed by Mukesh Chhabra and starring Sushant Singh Rajput, Sanjana Sanghi, Saswata Chatterjee, Swastika Mukherjee and Saif Ali Khan was released on July 24, 2020, on Disney+ Hotstar. The American film adaptation and the book enjoyed strong critical and commercial success, with the latter becoming one of the best-selling books of all time.

Hazel Grace Lancaster, a 16-year-old with thyroid cancer that has spread to her lungs, attends a cancer patient support group at her mother's behest. At one meeting, Hazel meets a 17-year-old boy currently in remission named Augustus Waters, whose osteosarcoma caused him to lose his right leg. Augustus is at the meeting to support Isaac, his friend who has eye cancer. Hazel and Augustus strike a bond immediately and agree to read each other's favorite novels. Augustus gives Hazel The Price of Dawn, and Hazel recommends An Imperial Affliction, a novel about a cancer-stricken girl named Anna that parallels Hazel's own experience. After Augustus finishes reading her book, he is frustrated upon learning that the novel ends abruptly without a conclusion, as if Anna had died suddenly. Hazel explains the novel's author, Peter van Houten, retreated to Amsterdam following the novel's publication and has not been heard from since.

A week later, Augustus reveals to Hazel that he has tracked down Van Houten's assistant, Lidewij, and, through her, has managed to start an e-mail correspondence with Van Houten. The two write to Van Houten with questions regarding the novel's ending; he eventually replies, explaining that he can only answer Hazel's questions in person. At a picnic, Augustus surprises Hazel with tickets to Amsterdam to meet Van Houten, acquired through the story's version of the Make-A-Wish Foundation, "The Genies."

Upon meeting Van Houten, Hazel and Augustus are shocked to discover that he is a mean-spirited alcoholic. Horrified by Van Houten's hostile behavior towards the teenagers, Lidewij confesses to having arranged the meeting on his behalf. Lidewij resigns as Van Houten's assistant and takes Hazel and Augustus to the Anne Frank House, where Augustus and Hazel share their first kiss. Later that night Hazel and Augustus lose their virginity to one another in Augustus's hotel room, confessing their mutual love for each other.

The next day, Augustus reveals that his cancer has returned. Upon their return to Indianapolis, Augustus's health continues to deteriorate, resulting in him staying in the ICU for a few days. Fearing his death, Augustus invites Isaac and Hazel to his pre-funeral, where they give eulogies. Augustus dies soon after, leaving Hazel heartbroken. Van Houten shows up at Augustus's funeral to apologize to Hazel.

Hazel learns that Augustus had written an obituary for her, and reads it after Lidewij discovers it amidst Van Houten's letters. It states that getting hurt in this world is unavoidable, but we do get to choose whom we allow to hurt us, and that he is happy with his choice, and hopes she likes hers too. The book closes with Hazel stating that she is happy with her choice.

Hazel Grace Lancaster

Hazel Grace Lancaster is a 16-year-old college student with lung cancer. She is depressed and knows that she'll die one day. She knows very well that being famous and loved widely does not matter as much as being who she is and being loved deeply because oblivion is inevitable.

Augustus "Gus" Waters

Augustus Waters is a 17-year-old boy who suffered from cancer and subsequently had a leg amputation. Gus wants to be known widely and have people remember him when he dies. Prior to meeting Hazel, Gus had a girlfriend, Caroline Mather, who died from a cancerous brain tumor, and it is stated that Hazel resembles her.

Isaac

Isaac is 17 years old and goes to the same support group as Hazel because of his eye cancer. His eye cancer has caused him to become blind.

Peter Van Houten

Peter Van Houten is Hazel's favorite author, who wrote her favorite book, the fictional book An Imperial Affliction. Later he turns out to be an alcoholic who is neither planning to write a sequel for AIA nor willing to imagine a future for the characters in the book. He had an eight-year-old daughter who died of leukemia.

Patrick

The strange support group leader who runs the meeting in the literal heart of Jesus at the church and had prostate cancer.

Mr. and Mrs. Lancaster

They are Hazel's parents. Mrs. Lancaster's main job is to (as Hazel would say) "hover over her." She eventually plans to become a social worker and is already working for a year on her MSW. Mr. Lancaster is working for a real estate company - Morris Property Inc.

Mr. and Mrs. Waters

They are Gus's parents. They have words of wisdom or Encouragements (as they used to call them) written all over their home. Gus's father along with Hazel agree that they have weird kids.

Lidewij Vliegenthart

She is the assistant to the author Peter Van Houten who resigns in the latter part of the book. Lidewij is also a graduate student pursuing her PhD in American literature. She was the one who first wrote back to Augustus and made Peter reply to Hazel and Augustus's emails. It is Lidewij who takes them for a visit to Anne Frank's house and pays (on behalf of the author) for their dinner at Oranje. After Augustus dies, she finds the last letters that Augustus wrote to Peter Van Houten before his death and emails them to Hazel.

Other characters include:

Julie and Martha

Augustus's paternal half-sisters, both married to bankers called Dave and Chris. Among them, they have three boys.

Graham

Isaac's ten-year-old brother.

Kaitlyn

Hazel's only friend from her pre-cancer life. Apparently, she is the one who suggests that Gus might have written something and mailed somebody else.

Caroline Mathers

Gus's ex-girlfriend who died of brain cancer before Gus and Hazel met.

Drs. Maria and Simon

Hazel's doctors.

After graduating from Kenyon College, Green spent about five months working as a student chaplain at Nationwide Children's Hospital in Columbus, Ohio. He has cited this experience as inspiration for his story:

I tried to write that book for almost 10 years. Ever since I worked as a chaplain, I would go back, I was trying to work on what I called the Children's Hospital Story, although in all of its previous incarnations, it starred this 22-year-old hospital chaplain, who was, like, surprisingly handsome and, like, hooking up with doctors. It was very embarrassing. I hope that - it was just terrible. But you know, I would go back to that story and go back to it and go back to it. Then in 2010 a good friend of mine died of cancer, a young friend, and I went back to the story, and I went back to it angry and needing to work.

This young friend who died was Esther Earl, who is named in the book's dedication.

Green worked on The Fault in our Stars in 2011, while staying as a writer in residence in Amsterdam at the invitation of the Dutch Foundation for Literature.

Two books served as an inspiration for the fictional book An Imperial Affliction: The Blood of the Lamb by Peter De Vries and Infinite Jest by David Foster Wallace.

On December 21, 2011, Barnes & Noble accidentally shipped 1,500 copies of The Fault in Our Stars before the release date to people who had pre-ordered the book. Green released a statement saying, "Mistakes happen. The people who made this error were not bad or incompetent people, and they were not acting maliciously. We all make mistakes, and it is not my wish to see Barnes and Noble or any of their employees vilified." Many people who received the book pledged not to read it until its release date, January 10, 2012, or discuss it until the next day, January 11, as per a request of Green's not to spoil it for other readers. Most kept to this promise, leaving the experience untarnished for those who got the book on the intended release date.

The book rose to #84 on the Amazon.com and Barnes & Noble bestseller lists in June 2011 shortly after its title was announced. Green promised that every pre-order would be hand-signed by him, requiring him to sign every copy of the first printing. He proposed that the general public vote on the color Sharpie he would use to sign the books, resulting in him signing the 150,000 books with a variety of Sharpie colors, each in proportion to the number of votes received for that color. However, some people who ordered from international booksellers received unsigned copies because those bookstores, including Amazon UK, underestimated how many books they needed and ordered more after the signing was complete, but Green agreed to fix this problem, telling people with unsigned pre-orders to email him so they could be sent a signed bookplate. Many fans submitted their book cover designs to various outlets including Tumblr and Twitter, tagging Green in these posts so he could see them. The sizeable number of posts received prompted Green's publisher Penguin to seek a fan-designed cover for a reprint of one of Green's other books, An Abundance of Katherines. The Fault in Our Stars debuted at No.1 on The New York Times Best Seller list for Children's Chapter Books and remained in that spot for seven consecutive weeks. A Hebrew edition of The Fault in Our Stars was published in Israel in August 2012 and more editions of the novel are forthcoming[as of? ] in Dutch, German, Spanish, French, Swedish, Danish, Icelandic, Chinese, Persian and Portuguese. The Fault in Our Stars has also gained places on several bestseller lists. It was No.1 on The Wall Street Journal bestseller list, No.1 on the Indiebound bestseller list, and No.9 on The Bookseller bestseller list. The novel was also The New York Times Book Review Editor's Choice. As of January 2013, there are nearly 1 million copies of the novel in print. In December 2012, it was announced that a special edition with a silver cover and an expanded Q&A, dubbed the 'Exclusive Collector's Edition', would be available from Barnes & Noble. All or at least most of the copies first available for purchase of this edition of the book contained a printing error wherein several pages of the first chapter were replaced with pages from the Q&A section at the back of the book. As of October 2017, the book has sold 23 million copies, making it one of the best-selling books of all time.

A tour van decorated for The Fault In Our Stars book tour in 2012

The Fault in Our Stars received critical acclaim. Critics mostly praised the book for its humor, strong characters, language, themes and new perspective on cancer and romance. The New York Times' review of the book called it "a blend of melancholy, sweet, philosophical and funny" and said that it "stays the course of tragic realism", while noting that the book's unpleasant plot details "do nothing to diminish the romance; in Green's hands, they only make it more moving". NPR's Rachel Syme noted that "[Green's] voice is so compulsively readable that it defies categorization", saying that the "elegantly plotted" book "may be his best". called The Fault in Our Stars "damn near genius". Entertainment Weekly wrote, "[Augustus and Hazel's] love story is as real as it is doomed, and the gut-busting laughs that come early in the novel make the luminous final pages all the more heartbreaking", and gave the novel an overall A− grade. The Manila Bulletin says that the book is "a collection of maudlin scenes and trite observations about the fragility of life and the wisdom of dying. And while it does talk about those things and more, the treatment of it is far from being maudlin or trite." The Manila Bulletin also added that "Just two paragraphs into the work, and he immediately wallops the readers with such an insightful observation delivered in such an unsentimental way that its hard not to shake your head in admiration." The Manila Bulletin stated that The Fault in Our Stars was a triumph for John Green. called it an "elegiac comedy". They gave the book a rating of four out of four stars. The School Library Journal stated that it was "a strong choice for young adult collections". The Fault in Our Stars received a starred review from Kirkus Reviews, who described it as "a smartly crafted intellectual explosion of a romance".

Several well-known authors have contributed their own positive reviews for the book. Jodi Picoult, author of My Sister's Keeper, calls The Fault in Our Stars "an electric portrait of young people who learn to live life with one foot in the grave". She goes on to say that the novel is "filled with staccato bursts of humor and tragedy". Bestselling author of The Book Thief, Markus Zusak, describes it as "a novel of life and death and the people caught in between" and "John Green at his best". Pertaining to Green's writing throughout the book, E. Lockhart, author of The Boyfriend List, says: "He makes me laugh and gasp at the beauty of a sentence or the twist of a tale. He is one of the best writers alive and I am seething with envy of his talent." named The Fault in Our Stars as the No. 1 fiction book of 2012. Kirkus Reviews listed it among the top 100 children's books of 2012. It also made USA Today's list of the top 10 books of 2012. In 2013, the Edmonton Journal named the book one of their "favourite books of the year".

One notable unfavorable opinion appeared in the : the entire genre, as well as the genre of young-adult novels dealing with suicide and self-harm was criticized as being "distasteful" and inappropriate for their target audience of teens. The Guardian criticized the piece, pointing out in particular that The Fault in Our Stars was chosen by The Guardian as that month's "teen book club choice" because "it's a gripping read, featuring two compelling characters, that deals sensitively and even humorously with a difficult situation without descending into mawkishness". In general, The Guardian faulted the Daily Mail for suggesting that the issues of illness, depression, and sexuality are inappropriate precisely "in the one place where difficult subjects have traditionally been most sensitively explored for teens: fiction written specifically for them". For his part, in an interview for The Guardian, John Green said: "The thing that bothered me about The Daily Mail piece was that it was a bit condescending to teenagers. I'm tired of adults telling teenagers that they aren't smart, that they can't read critically, that they aren't thoughtful, and I feel like that article made those arguments."

English-language film

In January 2012, Fox 2000 Pictures optioned the rights to adapt the novel into a feature film. Scott Neustadter, Michael H. Weber and Josh Boone wrote the adapted screenplay, with Josh Boone also serving as director. Shailene Woodley stars as Hazel, while Ansel Elgort plays Augustus.

Principal photography took place between August and October 2013, with Pittsburgh, Pennsylvania, doubling for the novel's setting of Indianapolis, and included some location shooting in Amsterdam. The film was released on June 6, 2014, in the United States, receiving positive reviews and grossing over $307million worldwide against its budget of $12million.

Hindi-language film

In August 2014, India's Fox Star Studios announced it would adapt the novel into an Indian Hindi-language film, with the working title of Kizie Aur Manny. Producer Karan Johar was supposed to produce the film but eventually backed out. Filming began in July 2018, in Jamshedpur, with first-time director Mukesh Chhabra guiding lead actor Sushant Singh Rajput (in his final film role) and lead actress Sanjana Sanghi (in her film debut). This adaptation ages up the characters and changes the main setting to India. The title of the movie was later changed to Dil Bechara (' The Helpless Heart') and is named after one of the original songs written for the movie that the director felt summed up the message of the film. Music composer A. R. Rahman has composed the background music and songs of the movie.

The film was scheduled to be released on May 8, 2020, after having been initially scheduled in November 2019, but was later postponed due to the COVID-19 pandemic in India. It was released on July 24, 2020, on Disney+ Hotstar and was met with mainly positive reviews.

In 2017, Green authorized a stage play adaptation of the book. The play was written by theatre director Tobin Strader of Brebeuf Jesuit Preparatory School in Indianapolis and four students at the high school. It was performed in 2019.

1. Deahl, Rachel (January 31, 2012). "Fox Options John Green's 'Fault in Our Stars'". Publishers Weekly. Archived from the original on December 12, 2018.

2. ^ "Kenyon College: John Green - Thoughts on How To Make Things and Why". Archived from the original on November 17, 2021 - via YouTube.

3. ^ Green, John (December 23, 2011). "There Will Be NO SPOILERS!!!". Vlogbrothers. Archived from the original on November 17, 2021.

4. ^ Green, John (June 29, 2011). "The Fault in Our Stars". Vlogbrothers. Archived from the original on November 17, 2021.

5. ^ Sprague, Rachel (January 4, 2013). "'The Fault in Our Stars' collector's edition publish date pushed back". Archived from the original on August 3, 2023.

6. ^ Syme, Rachel (January 17, 2012). "'The Fault In Our Stars': Love In A Time Of Cancer". NPR. Archived from the original on January 18, 2012.

7. ^ "Love in The Time Of The Big C". Manila Bulletin. March 9, 2012.

8. Minzesheimer, Bob (February 2, 2012). "'The Fault in Our Stars": not a cancer book". USA Today. Archived from the original on July 19, 2013.

9. ^ "John Green: 'I'm tired of adults telling teenagers that they aren't smart'". The Guardian. United Kingdom. February 27, 2013. Archived from the original on November 13, 2013.

10. ^ Sara Vilkomerson (May 10, 2013). "Ansel Elgort offered lead in 'The Fault in Our Stars' opposite Shailene Woodley -- Exclusive". Entertainment Weekly.

11. ^ Deutsch, Lindsay (October 8, 2013). "'The Fault In Our Stars' movie gets a release date". . Archived from the original on November 15, 2020.

12. ^ "'The Fault In Our Stars' Hindi remake 'Kizie Aur Manny' features a Rajinikanth twist". The Economic Times. July 9, 2018. Archived from the original on July 18, 2018.

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The Fault in Our Stars is a novel by John Green. It is his fourth solo novel, and sixth novel overall. It was published on January 10, 2012.

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A Court of Thorns and Roses Series | Sarah J. Maas

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Crime Junkie is a weekly true crime podcast dedicated to giving you a fix. Every Monday, Ashley Flowers will tell you about whatever crime she's been obsessing over that week in a way that sounds like you're sitting around talking crime with your best friends.

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Every Wednesday, it's like having happy hour with your best friends, the iconic duo Nikki & Brie, as they take you into their lives beyond the cameras and keep it 100 about being moms, sisters, entrepreneurs, and TV Personalities. From pop culture and fun games to life moments, join Nikki and Brie Garcia in their next chapter. Every episode, you'll laugh, cry, feel inspired, and, most importantly, walk away feeling happy, seen, and motivated to be yourself! They also welcome special guests, friends and family, and much more. Pop that bottle and pour a glass with Nikki & Brie every Wednesday.

Every Wednesday, it's like having happy hour with your best friends, the iconic duo Nikki & Brie, as they take you into their lives beyond the cameras and keep it 100 about being moms, sisters, entrepreneurs, and TV Personalities. From pop culture and fun games to life moments, join Nikki and Brie Garcia in their next chapter. Every episode, you'll laugh, cry, feel inspired, and, most importantly, walk away feeling happy, seen, and motivated to be yourself! They also welcome special guests, friends and family, and much more. Pop that bottle and pour a glass with Nikki & Brie every Wednesday.

Hey

Bella's just wanted to say thank you for all these wonderful episodes. I would never listen to any podcast but because where I work at gets boring I started searching for a good podcast to listen to while I work and came across this podcast. I still have a lot of catching up to do but ladies you are amazing very strong independent. I absolutely love it. Sending much love and blessings to you and your beautiful family God bless ❤️ QUE VIVA LAS LATINAS 💪🏼

Love Brie & Bryan

The episode with Brie and Bryan was so honest, vulnerable, open, and true! I really appreciate them being so raw about parenthood and the difference between the kids. They didn't hold back and I like that about these two. We need more episodes with these two more often! Thanks guys xo

I am a fan girl of bellas

Hi Bella's i love you guys you guys are my favorite and i am candace campbell i am a biggest fan of you Nikki bella your beautiful and smart and brie bella your talented and sweet and i love you guys i love your podcast i want your autograph i want to meet you guys OMG i love you guys and you guys are my idols and your my favorite i want your merchandise action figures and shirts and birdie bee stuff i love you guys ❤️❤️❤️❤️❤️

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‎The Nikki & Brie Show on Apple Podcasts

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Every Wednesday, it's like having happy hour with your best friends, the iconic duo Nikki & Brie, as they take you into their lives beyond the cameras and keep it 100 about being moms, sisters, entrepreneurs, and TV Personalities. From pop culture and fun games to life moments, join Nikki and Brie G...

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We get to the heart of it on ANATOMY OF MURDER.

ANATOMY OF MURDER is a weekly true crime podcast examining homicide cases and paths to justice for the victims. Former New York City homicide prosecutor and host of Investigation Discovery's True Conviction, Anna-Sigga Nicolazzi, teams up with Emmy award-winning investigative journalist, and former Deputy Sheriff Scott Weinberger, to take listeners behind the scenes, for an insider's perspective of compelling homicide cases from around the country. In every episode, listeners will also hear and gain insight from a victim's family member, the prosecutor, or a member of law enforcement directly involved in the investigation.

The Episodes

Murder, another murder, and a hand on a shoulder. How these three things intersect and how the tangled web was unwoven hits at the heart of our justice system.

Murder, another murder, and a hand on a shoulder. How these three things intersect and how the tangled web was unwoven hits at the heart of our justice system.

A cord left wrapped in a dead man's hands. He was killed with it, by his wife. Justified or homicide? Secrets uncovered will help decide where the truth really lies.

The Hosts

Anna-Sigga Nicolazzi

Anna-Sigga is a career homicide prosecutor. She spent 21 years (1995 - 2017) at the Brooklyn District Attorney's Office, in New York, the last 16 of which were in the office's Homicide Bureau, where she served as Chief of Trials. Specializing in multiple defendant, double-jury and other complex cases, Anna-Sigga has worked on hundreds of investigations and tried well over 50 felonies, 35 of those being homicides.

Currently, Anna-Sigga is the television host and Co-EP of the series, True Conviction, which is currently in production for its 3rd season on Investigation Discovery. She has appeared frequently as a legal analyst on many of the national television networks and also lectures and teaches nationally.
*Photo Courtesy of Discovery Communications, LLC.

Scott Weinberger

Scott has spent his career focused on crime. He is a three-time Emmy-award winning Investigative Journalist, previously at WNBC-TV and WCBS-TV in New York. Before that, he served for close to a decade in law enforcement in Florida. He is currently CEO and Executive Producer at Weinberger Media, which he founded in 2007 to create unique content for television. Weinberger Media specializes in producing and developing non-scripted television programming that brings viewers into the world of crime, investigations, police and the judicial system.

Best known for creating and launching On the Case with Paula Zahn, the highly popular series is now celebrating its 21st season on Investigation Discovery and is close to a record 300 episodes. His company also produces the successful series True Conviction, now going into its 3rd season, also on Investigation Discovery.

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We get to the heart of it on ANATOMY OF MURDER. ANATOMY OF MURDER is a weekly true crime podcast examining homicide cases and paths to justice for the victims. Former New York City homicide prosecutor and host of Investigation Discovery's True Conviction, Anna-Sigga Nicolazzi, teams up with Emmy award-winning investigative journalist, and former Deputy Sheriff Scott Weinberger, to take listeners behind the scenes, for an insider's perspective of compelling homicide cases from around the country.

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Donut Media brings you some of the craziest stories from all of automotive history in their new podcast "Past Gas!". Hosts James Pumphrey and Nolan Sykes walk you through incredible stories behind your favorite cars and manufacturers, like underground Japanese racing clubs, bitter racing rivalries and how some of your favorite classic cars came to be. Remember, it's about cars, not about farts. For advertising opportunities please email PodcastPartnerships@Studio71us.com Link to survey: https://bit.ly/2EcYbu4

Donut Media brings you some of the craziest stories from all of automotive history in their new podcast "Past Gas!". Hosts James Pumphrey and Nolan Sykes walk you through incredible stories behind your favorite cars and manufacturers, like underground Japanese racing clubs, bitter racing rivalries and how some of your favorite classic cars came to be. Remember, it's about cars, not about farts. For advertising opportunities please email PodcastPartnerships@Studio71us.com Link to survey: https://bit.ly/2EcYbu4

Call in the Thunder!

Nolan, bro, you need a catch phrase! Love this podcast. Tons of info. Stuff I've never heard before. It's awesome because the guys seem like they're just learning it too. Love the comedy and the tangents. I LOVE that you don't get wrapped up at all in the current BS. Keep it up guys. I'm a fantastic of all Donut Media!

It's great!

I listen to this while I'm at work and I've listened to every episode so far and nothing but praise for the show. I just really want a Chevy squarebody episode or episodes

Work

You guys have made 8 hour shifts feel like 4 hours, in the matter of a week I've finished every single podcast and started re listening. My favorite episodes are EASILY THE SMOKEY YUNICK ONES. Definitely my new favorite guy♥️

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‎Past Gas by Donut Media on Apple Podcasts

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‎Donut Media brings you some of the craziest stories from all of automotive history in their new podcast "Past Gas!". Hosts James Pumphrey and Nolan Sykes walk you through incredible stories behind your favorite cars and manufacturers, like underground Japanese racing clubs, bitter racing rivalries a...

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Every Friday, top Tech YouTuber Linus Sebastian and Luke Lafreniere meet to discuss current events in the tech world, a subject from which they do not stray....

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After covering the Iraq War, the Cuban Revolution, and the Korean War, in season 4 the Blowback co-hosts Brendan James and Noah Kulwin now turn to Afghanistan. Season four is out now. Subscribe now! Listening details below.

The entirety of season four - 10 main narrative episodes, 10 bonus episodes - is now available to Blowback subscribers, for the price of $24.99. Subscriptions are now available here.

In addition to getting all of season four at once, Blowback subscribers receive:

Immediate access to an ad-free catalog of past seasons

Extra music / demos / extended cuts from the show's soundtrack by The Great Vorelli

Unique discount codes for upcoming Blowback merchandise

Praise for Blowback:

"Brimming with intrigue" - Rolling Stone

"Popular" - Vulture

"A cool 'aural slapper' to entertain & edify you" - BLCKBRD Spyplane

"Diligent and expansive research" - Boing Boing

"Well-researched" - Hyperallergic

"A gripping, thorough account" - Gizmodo

"Something different" - Tribune (UK)

"Painstaking detail" - AV Club

"Filled with meticulous consideration" - IndieWire

"Genuine scholarship" - Uproxx

"A necessary resource" - Jacobin

"A rich history" - Podcast Review

"Technically not true crime" - Newsweek

"Meticulously researched and assembled" - O, The Oprah Magazine

Season 1 Sources
Season 2 Sources
Season 3 Sources

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In this episode, Alyson and Breht wrestle with the possible rise of artificial general intelligence and its implications. Together they discuss the Silicon Valley Techno-Cult and their dark religious search for immortality, their hubristic attempts to "build god" and escape death, their neoliberal subjectivities and how...

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Rev Left is a podcast that explores political philosophy, history, science, religion, culture, art, and struggle through a socialist lens. Advancing an analysis and vision for the world rooted in egalitarianism, solidarity, compassion, and human freedom.

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“Parenting Is Relationship Building Not Behavior Control” episode transcripts, sponsors, audience info, episodes, content rating

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Transcriptions, sponsors, audience info, episodes and content rating for “Parenting Is Relationship Building Not Behavior Control” episode.

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POSTING VIDEOS EVERY TUESDAY AT 11AM AUDIO PODCASTS ON ITUNES & SOUNDCLOUD ZOO CULTURE RAWGEAR ZOO CULTURE STUDIO RAWTALK

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Harry Potter is a film series based on the eponymous novels by British author J. K. Rowling. The series is produced and distributed by Warner Bros. Pictures and consists of eight fantasy films, beginning with Harry Potter and the Philosopher's Stone (2001) and culminating with Harry Potter and the Deathly Hallows - Part 2 (2011). A spin-off prequel series, planned to consist of five films, started with Fantastic Beasts and Where to Find Them (2016), marking the beginning of the Wizarding World shared media franchise.

The series was mainly produced by David Heyman, and stars Daniel Radcliffe, Rupert Grint, and Emma Watson as the three leading characters: Harry Potter, Ron Weasley, and Hermione Granger. Four directors worked on the series: Chris Columbus, Alfonso Cuarón, Mike Newell, and David Yates. Michael Goldenberg wrote the screenplay for Harry Potter and the Order of the Phoenix (2007), while the remaining films' screenplays were written by Steve Kloves. Production took place over ten years, with the main story arc following Harry's quest to overcome his arch-enemy Lord Voldemort.

Harry Potter and the Deathly Hallows, the seventh and final novel in the series, was adapted into two feature-length parts. was released in November 2010, and was released in July 2011.

Deathly Hallows - Part 2 is among the 50 highest-grossing films of all time-at 18th-highest, grossing over $1 billion. It is the fourth-highest-grossing film series, with $7.7 billion in worldwide receipts.

In late 1997, film producer David Heyman's London offices received a copy of the first book in what would become Rowling's series of seven Harry Potter novels. The book, Harry Potter and the Philosopher's Stone, was relegated to a low-priority bookshelf, where it was discovered by a secretary who read it and gave it to Heyman with a positive review. Consequently, Heyman, who had originally disliked "the rubbish title", read the book himself. Highly impressed by Rowling's work, he began the process that led to one of the most successful cinematic franchises of all time.

Heyman's enthusiasm led to Rowling's 1999 sale of the film rights for the first four Harry Potter books to Warner Bros. for a reported £1 million (US$2,000,000). A demand Rowling made was that the principal cast be kept strictly British and Irish wherever possible, such as Richard Harris as Dumbledore, allowing nonetheless for casting of French and Eastern European actors in Harry Potter and the Goblet of Fire where characters from the book are specified as such. Rowling was hesitant to sell the rights because she "didn't want to give them control over the rest of the story" by selling the rights to the characters, which would have enabled Warner Bros. to make non-author-written sequels.

Although Steven Spielberg initially negotiated to direct the first film, he declined the offer. Spielberg contended that, in his opinion, there was every expectation of profit in making the film. He claims that making money would have been like "shooting ducks in a barrel. It's just a slam dunk. It's just like withdrawing a billion dollars and putting it into your personal bank accounts. There's no challenge." In the "Rubbish Bin" section of her website, Rowling maintains that she had no role in choosing directors for the films, writing "Anyone who thinks I could (or would) have 'veto-ed' him [Spielberg] needs their Quick-Quotes Quill serviced."

After Spielberg left, conversations began with other directors, including Chris Columbus, Jonathan Demme, Terry Gilliam, Mike Newell, Alan Parker, Wolfgang Petersen, Rob Reiner, Tim Robbins, Brad Silberling, and Peter Weir. Petersen and Reiner both pulled out of the running in March 2000. It was then narrowed down to Columbus, Gilliam, Parker, and Silberling. Rowling's first choice was Gilliam. However, on 28 March 2000 Columbus was appointed as director of the film, with Warner Bros. citing his work on other family films such as and Mrs. Doubtfire as influences for their decision.

Harry Potter is the kind of timeless literary achievement that comes around once in a lifetime. Since the books have generated such a passionate following across the world, it was important to us to find a director that has an affinity for both children and magic. I can't think of anyone more ideally suited for this job than Chris [Columbus].

Steve Kloves was selected to write the screenplay for the first film. He described adapting the book as "tough" since it did not "lend itself to adaptation as well as the next two books". Kloves was sent a "raft" of synopses of books proposed as film adaptations, with Harry Potter being the only one that jumped out at him. He went out and bought the book, becoming an instant fan. When speaking to Warner Bros. he stated that the film had to be British and true to the characters. David Heyman was confirmed to produce the film. Rowling received a large amount of creative control for the film, an arrangement that Columbus did not mind.

Warner Bros. had initially planned to release the first film over the 4 July 2001 weekend, making for such a short production window that several of the originally proposed directors had withdrawn themselves from contention. Eventually, due to time constraints, the date was put back to 16 November 2001.

Casting the roles of Harry, Ron, and Hermione

Daniel Radcliffe, Emma Watson, and Rupert Grint at the world premiere of Harry Potter and the Deathly Hallows - Part 2 in Trafalgar Square, London on 7 July 2011

In 2000, after a seven-month search, lead actor Daniel Radcliffe was discovered by producer David Heyman and writer Steve Kloves seated just behind them in a theatre. In Heyman's own words, "There sitting behind me was this boy with these big blue eyes. It was Dan Radcliffe. I remember my first impressions: He was curious and funny and so energetic. There was real generosity too, and sweetness. But at the same time he was really voracious and with hunger for knowledge of whatever kind."

Radcliffe had already established himself as an actor in the 1999 BBC television production of David Copperfield in which he played the title role's childhood years. Heyman persuaded Radcliffe's parents to allow him to audition for the part of Harry Potter, which involved Radcliffe being filmed. Rowling was enthusiastic after viewing Radcliffe's filmed test, saying she didn't think there was a better choice for the part of Harry Potter.

Also in 2000, the then-unknown British actors Emma Watson and Rupert Grint were selected from thousands of auditioning children to play the roles of Hermione Granger and Ron Weasley, respectively. Their only previous acting experience was in school plays. Grint was eleven years old and Watson ten at the time they were cast.

Los Angeles Times writer Geoff Boucher, who conducted the above-mentioned interview with Heyman, added that the casting of the three major roles "is especially impressive in hindsight. The trio's selection was arguably one of the best show-business decisions over the past decade ... they have shown admirable grace and steadiness in the face of teen superstardom."

Production

Filming of the series began at Leavesden Studios, Hertfordshire, England, in September 2000 and ended in December 2010, with post-production on the final film lasting until summer 2011. Leavesden Studios was the main base for filming Harry Potter, and it opened to the public as a studio tour in 2012 (renamed as Warner Bros. Studios, Leavesden).

Warner Bros. Studios, Leavesden, where much of the film series was shot. Harry Potter was also filmed in other areas, including Pinewood Studios.

David Heyman produced all the films in the series with his production company Heyday Films, while David Barron joined the series as an executive producer on Chamber of Secrets and Goblet of Fire. Barron was later appointed producer on the last four films. Chris Columbus was an executive producer on the first two films alongside Mark Radcliffe and Michael Barnathan, but he became a producer on the third film alongside Heyman and Radcliffe. Other executive producers include Tanya Seghatchian and Lionel Wigram. J. K. Rowling, author of the series, was asked to become a producer on Goblet of Fire but declined. She subsequently accepted the role on the two-part Deathly Hallows.

Heyday Films and Columbus' company 1492 Pictures collaborated with Duncan Henderson Productions in 2001, Miracle Productions in 2002, and P of A Productions in 2004. Even though Prisoner of Azkaban was the final film produced by 1492 Pictures, Heyday Films continued with the franchise and collaborated with Patalex IV Productions in 2005. The sixth film in the series, Half-Blood Prince, was the most expensive film to produce as of 2009.

Warner Bros. split the seventh and final novel in the series, Deathly Hallows, into two cinematic parts. The two parts were filmed back-to-back from early 2009 to summer 2010, with the completion of reshoots taking place on 21 December 2010; this marked the end of filming Harry Potter. Heyman stated that Deathly Hallows was " shot as one film" but released in two feature-length parts.

Tim Burke, the visual effects supervisor of the series, said of the production on Harry Potter, "It was this huge family; I think there were over 700 people working at Leavesden, an industry in itself." David Heyman said, "When the first film opened, no way did I think we'd make eight films. That didn't seem feasible until after we'd done the fourth." Nisha Parti, the production consultant on the first film, said that Heyman "made the first film very much the way he felt the studio Warner Bros. wanted to make it". After the film's success, Heyman was given "more freedom".

One of the aims of the filmmakers from the beginning of production was to develop the maturity of the films. Chris Columbus stated, "We realised that these movies would get progressively darker. Again, we didn't know how dark but we realised that as the kids get older, the movies get a little edgier and darker." This transpired with the succeeding three directors who would work on the series in the following years, with the films beginning to deal with issues such as death, betrayal, prejudice, and political corruption as the series developed narratively and thematically.

After Chris Columbus had finished working on Harry Potter and the Philosopher's Stone, he was hired to direct the second film, Harry Potter and the Chamber of Secrets. The production started within a week after the release of the first film. Columbus was set to direct all entries in the series, but he did not want to return for the third film, Harry Potter and the Prisoner of Azkaban, claiming he was "burned out". He moved to the position of producer, while Alfonso Cuarón was approached for the role of director. He was initially nervous about directing the instalment since he had not read any of the books or seen the films. After reading the series, he changed his mind and signed on to direct since he had immediately connected to the story.

David Yates directed four of the films in the series, including the two-part finale Deathly Hallows.

Because Cuarón decided not to direct the fourth instalment, Harry Potter and the Goblet of Fire, a new director had to be selected. Mike Newell was chosen to direct the film, but he declined to direct the next film, Harry Potter and the Order of the Phoenix, which was given to David Yates, who also directed Harry Potter and the Half-Blood Prince and Harry Potter and the Deathly Hallows, becoming the only director to helm more than one film since Chris Columbus.

Chris Columbus said his vision of the first two films was of a "golden storybook, an old-fashioned look", while Alfonso Cuarón changed the visual tone of the series, desaturated the colour palette, and expanded the landscape around Hogwarts. Mike Newell decided to direct the fourth film as a "paranoid thriller", while David Yates wanted to "bring a sense of jeopardy and character to the world". Cuarón, Newell, and Yates have said that their challenge was striking a balance between making the films according to their individual vision, while working within a cinematic world already established by Columbus.

David Heyman commented on the "generosity of the directors" by revealing that "Chris spent time with Alfonso, Alfonso spent time with Mike and Mike spent time with David, showing him an early cut of the film, talking through what it means to be a director and how they went about [making the films]."

David Heyman also said, "I suppose Chris Columbus was the most conservative choice from the studio's point of view. But he expressed real passion." Producer Tanya Seghatchian said they were "more adventurous" in choosing a director for the third film and went straight to Alfonso Cuarón. Mike Newell became the first British director of the series when he was chosen for the fourth film; Newell was considered to direct the first film before he dropped out. David Yates directed the final films after David Heyman thought him capable of handling the edgy, emotional, and political material of the later novels.

All the directors have been supportive of each other. Chris Columbus praised the character development in the films, while Alfonso Cuarón admired the "quiet poetry" of David Yates' films. Mike Newell noted that each director had a different heroism, and David Yates views the first four films "respectfully and enjoy[s] them". Daniel Radcliffe said Yates "took the charm of the films that Chris made and the visual flair of everything that Alfonso did and the thoroughly British, bombastic nature of the film directed by Mike Newell" and added "his own sense" of realism.

A studio model of Hogwarts. It is the main setting in the series; the castle features in every novel and screen adaptation.

Steve Kloves wrote the screenplays for all but the fifth film, which was penned by Michael Goldenberg. Kloves had direct assistance from J.K. Rowling, though she allowed him what he described as "tremendous elbow room". Rowling asked Kloves to remain faithful to the spirit of the books; thus, the plot and tone of each film and its corresponding book are virtually the same, albeit with some changes and omissions for purposes of cinematic style, time, and budget constraints. Michael Goldenberg also received input from Rowling during his adaptation of the fifth novel; Goldenberg was originally considered to adapt the first novel before the studio chose Kloves.

In a 2010 interview, David Heyman briefly explained the book-to-film transition. He commented on Rowling's involvement in the series, stating that she understood that "books and films are different" and was "the best support" a producer could have. Rowling had overall approval on the scripts, which were viewed and discussed by the director and the producers. Heyman also said that Kloves was the "key voice" in the process of adapting the novels and that certain aspects from the books needed to have been excluded from the scripts due to the filmmakers' decision to keep the main focus on Harry's journey as a character, which would ultimately give the films a defined structure. Heyman mentioned that some fans "don't necessarily understand the adaptation process" and that the filmmakers would have loved to "have everything" from the books in the films but noted that it was not possible since they had "neither time nor cinematic structure" to do so. He finished by saying that adapting a novel to the screen is "a really considered process".

Because the films were being made as the novels were being published, the filmmakers had no idea of the story's outcome until the release of the final novel in 2007. Kloves spoke of his relationship with Rowling when adapting the novels by saying, "The thing is about Jo, which is remarkable for someone who had no experience with the filmmaking process, was her intuition. We had a conversation the very first day I met her where she said, 'I know the movies can't be the books ... because I know what's coming and it's impossible to fully dramatise on screen what I'm going to write. But I just ask you to be true to the characters; that's all I care about.'" Kloves also said, "I don't know what compelled me to say this [to Rowling], but I said, 'I've just got to warn you my favourite character is not Harry. My favourite character is Hermione.' And I think for some weird reason, from that moment on, she sort of trusted me."

Cast and crew

Aside from the three lead actors, other notable cast members include Robbie Coltrane as Rubeus Hagrid, Tom Felton as Draco Malfoy, Alan Rickman as Severus Snape, and Dame Maggie Smith as Minerva McGonagall. Richard Harris, who played the role of Professor Albus Dumbledore, died on 25 October 2002 causing the role to be re-cast for the third instalment, Harry Potter and the Prisoner of Azkaban. David Heyman and director Alfonso Cuarón chose Michael Gambon to portray the character of Dumbledore, which he did for all succeeding films. Notable recurring cast members include Helena Bonham Carter as Bellatrix Lestrange, Warwick Davis as Filius Flitwick, Ralph Fiennes as Lord Voldemort, Brendan Gleeson as Alastor Moody, Richard Griffiths as Vernon Dursley, Jason Isaacs as Lucius Malfoy, Gary Oldman as Sirius Black, Fiona Shaw as Petunia Dursley, Timothy Spall as Peter Pettigrew, David Thewlis as Remus Lupin, Emma Thompson as Sybill Trelawney, Mark Williams as Arthur Weasley, and Julie Walters as Molly Weasley.

The series has seen many returning crew members from various departments, including Tim Burke, visual effects supervisor; Peter Doyle, digital film colourist; Nick Dudman, make-up and creature effects designer; David Holmes, stunt double; Amanda Knight, make-up artist; Stephenie McMillan, set designer; Greg Powell, stunt coordinator; Jany Temime, costume designer; and Fiona Weir, casting director.

The Hall of Christ Church in Oxford, England, the inspiration for the studio film set of The Great Hall of Hogwarts.[46][47]

The production designer for all eight films is Stuart Craig. Assisted by Stephenie McMillan, Craig has created iconic sets pieces including the Ministry of Magic, the Chamber of Secrets, Malfoy Manor, and the layout for the CGI Horcrux Cave. Because the novels were being published as the films were being made, Craig was required to rebuild some sets for future films and alter the design of Hogwarts.

The studio film set of The Great Hall of Hogwarts was one of the first sets ever created for the series.[49]

He said, "In the early days, every time you saw the exterior of Hogwarts, it was a physical miniature", which was made by craftsmen and occupied a large sound stage. "We ended up with a profile of how Hogwarts looked, a skyline that actually I didn't design, and it wasn't always satisfactory, and as all the novels got written and movies got made there were new requirements [for buildings]. The [Astronomy Tower] definitely wasn't there originally, and so we were able to add that substantial piece. And in the last film, we needed an arena for the battle for Hogwarts - the big courtyard outside doubled in size, and if you look at the first movie it wasn't there at all. There were quite some liberties taken with the continuity of Hogwarts." In the last film, Craig used a digital model instead of a miniature to "embrace the latest technology".

On the method of creating the sets, Craig said he often started by sketching ideas onto a blank sheet of paper. Stephenie McMillan also said that "each film always had plenty of new challenges", citing the changes in visual style between directors and cinematographers as an example, along with the developing story in the novels. Due to J.K. Rowling's descriptions of various settings in the novels, Craig noted his "responsibility was to place it together".

Craig commented on his experience working in the studio environment: "I'm the production designer, but on a big movie like Harry Potter I may be responsible for 30 to 35 people; from the supervising art director, and a team of art directors and assistants, to draughtsmen and junior draughtsmen, and then on to model makers, sculptors and scenic artists." He said, "Ten years ago, all the Harry Potter drawings were done in pencil. I would take my roughs and plans and sections and give them to a professional architectural illustrator, who would create concept art using pencil and colour wash on watercolour paper." He said the process changed slightly throughout the years due to, what he called, the "digital revolution" of making films.

When filming of the series was completed, some of Craig's sets had to be rebuilt or transported for them to be displayed at the Warner Bros. studio tour.

Cinematography

Six directors of photography worked on the series: John Seale on the first film, Roger Pratt on the second and fourth, Michael Seresin on the third, Sławomir Idziak on the fifth, Bruno Delbonnel on the sixth, and Eduardo Serra on the seventh and eighth. Delbonnel was considered to return for both parts of Deathly Hallows, but he declined, stating that he was "scared of repeating" himself. Delbonnel's cinematography in Half-Blood Prince gained the series its only Academy Award nomination for Best Cinematography. As the series progressed, each cinematographer faced the challenge of shooting and lighting older sets (which had been around since the first few films) in unique and different ways. Chris Columbus said the series' vivid colouring decreased as each film was made.

Michael Seresin commented on the change of visual style from the first two films to Prisoner of Azkaban: "The lighting is moodier, with more shadowing and cross-lighting." Seresin and Alfonso Cuarón moved away from the strongly coloured and brightly lit cinematography of the first two films, with dimmer lighting and a more muted colour palette being utilised for the succeeding five films. After comparing a range of digital cameras with 35 mm film, Bruno Delbonnel decided to shoot the sixth movie, Half-Blood Prince, on film rather than the increasingly popular digital format. This decision was kept for the two-part Deathly Hallows with Eduardo Serra, who said that he preferred to work with film because it was "more technically accurate and dependable".

Because the majority of Deathly Hallows takes place in various settings away from Hogwarts, David Yates wanted to "shake things up" by using different photographic techniques such as using hand-held cameras and very wide camera lenses. Eduardo Serra said, "Sometimes we are combining elements shot by the main unit, a second unit, and the visual effects unit. You have to know what is being captured - colours, contrast, et cetera - with mathematical precision." He noted that with Stuart Craig's "amazing sets and the story", the filmmakers could not "stray too far from the look of the previous Harry Potter films".

Along with continuous changes in cinematographers, there have been five film editors to work in post-production on the series: Richard Francis-Bruce edited the first instalment, Peter Honess the second, Steven Weisberg the third, Mick Audsley the fourth, and Mark Day films five through eight.

John Williams scored the first three films and received Academy Award nominations for the first and third films.

The Harry Potter series has had four composers. John Williams scored the first three films: Philosopher's Stone, Chamber of Secrets, and Prisoner of Azkaban. Due to a busy 2002 schedule, Williams brought in William Ross to adapt and conduct the score for Chamber of Secrets. Williams also created " Hedwig's Theme", the series leitmotif which appears in all eight films.

After Williams left the series to pursue other projects, Patrick Doyle scored the fourth entry, Goblet of Fire, which was directed by Mike Newell, with whom Doyle had worked previously. In 2006, Nicholas Hooper started work on the score to Order of the Phoenix, reuniting with director David Yates. Hooper also composed the soundtrack to Half-Blood Prince but decided not to return for the final films.

In January 2010, Alexandre Desplat was confirmed to compose the score for Harry Potter and the Deathly Hallows - Part 1. The film's orchestration started in the summer with Conrad Pope, the orchestrator on the first three Harry Potter films, collaborating with Desplat. Pope commented that the music "reminds one of the old days". Desplat returned to score Harry Potter and the Deathly Hallows - Part 2 in 2011.

Yates stated that he wanted Williams to return to the series for the final instalment, but their schedules did not align due to the urgent demand for a rough cut of the film. The final recording sessions of Harry Potter took place on 27 May 2011 at Abbey Road Studios with the London Symphony Orchestra, Desplat and orchestrator Conrad Pope.

Doyle, Hooper and Desplat introduced their own personal themes to their respective soundtracks, while keeping a few of Williams' themes.

Visual effects

There have been many visual effects companies to work on the Harry Potter series. Some of these include Rising Sun Pictures, Sony Pictures Imageworks, Double Negative, Cinesite, Framestore, and Industrial Light & Magic. The latter three have worked on all the films in the series, while Double Negative and Rising Sun Pictures began their commitments with Prisoner of Azkaban and Goblet of Fire, respectively. Framestore contributed by developing many memorable creatures and sequences to the series. Cinesite was involved in producing both miniature and digital effects for the films. Producer David Barron said that " Harry Potter created the UK effects industry as we know it. On the first film, all the complicated visual effects were done on the [US] west coast. But on the second, we took a leap of faith and gave much of what would normally be given to Californian vendors to UK ones. They came up trumps." Tim Burke, the visual effects supervisor, said many studios "are bringing their work to UK effects companies. Every facility is fully booked, and that wasn't the case before Harry Potter. That's really significant."

Final filming

On 12 June 2010, filming of the Deathly Hallows - Part 1 and was completed with actor Warwick Davis stating on his Twitter account, "The end of an Era - today is officially the last day of principal photography on 'Harry Potter' - ever. I feel honoured to be here as the director shouts cut for the very last time. Farewell Harry & Hogwarts, it's been magic!" However, reshoots of the epilogue scene were confirmed to begin in the winter of 2010. The filming was completed on 21 December 2010, marking the official closure of filming the Harry Potter franchise. Exactly four years earlier on that day, author J. K. Rowling's official website revealed the title of the final novel in the series - Harry Potter and the Deathly Hallows.

The Gryffindor Common Room was introduced in the first film

Harry Potter is an orphaned boy brought up by his unkind Muggle (non-magical) aunt and uncle. At the age of eleven, half-giant Rubeus Hagrid informs him that he is actually a wizard and that his parents were murdered by an evil wizard named Lord Voldemort. Voldemort also attempted to kill one-year-old Harry on the same night, but his killing curse mysteriously rebounded and reduced him to a weak and helpless form. Harry became extremely famous in the Wizarding World as a result. Harry begins his first year at Hogwarts School of Witchcraft and Wizardry and learns about magic. During the year, Harry and his friends Ron Weasley and Hermione Granger become entangled in the mystery of the Philosopher's Stone which is being kept within the school.

Harry, Ron, and Hermione return to Hogwarts for their second year, which proves to be more challenging than the last. The Chamber of Secrets has been opened, leaving students and ghosts petrified by an unleashed monster. Harry must face up to claims that he is the heir of Salazar Slytherin (founder of the Chamber), learn that he can speak Parseltongue, and also discover the properties of a mysterious diary, only to find himself trapped within the Chamber itself.

The Glenfinnan Viaduct in Scotland (which the Hogwarts Express passes en route to Hogwarts), features in four films in the series, including the Dementor scene in Prisoner of Azkaban

Harry's third year sees the boy wizard, along with his friends, attending Hogwarts School once again. Professor R. J. Lupin joins the staff as Defence Against the Dark Arts teacher, while convicted murderer Sirius Black escapes from Azkaban. The Ministry of Magic entrusts the Dementors to guard Hogwarts from Black. Harry learns more about his past and his connection with the escaped prisoner.

During Harry's fourth year, Hogwarts plays host to the Triwizard Tournament. Three European schools participate in the tournament, with three 'champions' representing each school in the deadly tasks. The Goblet of Fire chooses Fleur Delacour, Viktor Krum, and Cedric Diggory to compete against each other. However, Harry's name is also produced from the Goblet thus making him a fourth champion, which leads to a terrifying encounter with a reborn Lord Voldemort.

Harry's fifth year begins with him being attacked by Dementors in Little Whinging. Later, he finds out that the Ministry of Magic is in denial of Lord Voldemort's return. Harry is also beset by disturbing and realistic nightmares, while Professor Umbridge, a representative of Minister for Magic Cornelius Fudge, is the new Defence Against the Dark Arts teacher. Harry becomes aware that Voldemort is after a prophecy which reveals: "neither can live while the other survives". The rebellion involving the students of Hogwarts, secret organisation Order of the Phoenix, the Ministry of Magic, and the Death Eaters begins.

In Harry's sixth year at Hogwarts, Lord Voldemort and his Death Eaters are increasing their terror upon the Wizarding and Muggle worlds. Headmaster Albus Dumbledore persuades his old friend Horace Slughorn to return to Hogwarts as a professor as there is a vacancy to fill. There is a more important reason, however, for Slughorn's return. While in a Potions lesson, Harry takes possession of a strangely annotated school textbook, inscribed as belonging to the 'Half-Blood Prince'. Draco Malfoy struggles to carry out a mission presented to him by Voldemort. Meanwhile, Dumbledore and Harry secretly work together to discover how to destroy the Dark Lord once and for all.

The Potters' Cottage from the final film

After unexpected events at the end of the previous year, Harry, Ron, and Hermione are entrusted with a quest to find and destroy Lord Voldemort's secret to immortality - the Horcruxes. It is supposed to be their final year at Hogwarts, but the collapse of the Ministry of Magic and Voldemort's rise to power prevents them from attending. The trio undergo an arduous journey with many obstacles in their path including Death Eaters, Snatchers, the mysterious Deathly Hallows, and Harry's connection with the Dark Lord's mind becoming ever stronger.

After destroying one Horcrux and discovering the significance of the three Deathly Hallows, Harry, Ron and Hermione continue to seek the other Horcruxes in an attempt to destroy Voldemort, who has now obtained the powerful Elder Wand. The Dark Lord discovers Harry's hunt for his Horcruxes and launches an attack on Hogwarts, where the trio return for one last stand against the dark forces that threaten both the Wizarding and Muggle worlds.

The rights for the first four novels in the series were sold to Warner Bros. for £1,000,000 by J.K. Rowling. After the release of the fourth book in July 2000, the first film, Harry Potter and the Philosopher's Stone, was released on 16 November 2001. In its opening weekend, the film grossed $90 million in the United States alone, which set a record opening worldwide. The succeeding three motion picture adaptations followed suit in financial success, while garnering positive reviews from fans and critics. The fifth film, Harry Potter and the Order of the Phoenix, was released by Warner Bros. on 11 July 2007 in English-speaking countries, except for the UK and Ireland, which released the movie on 12 July. The sixth, Harry Potter and the Half-Blood Prince, was released on 15 July 2009 to critical acclaim and finished its theatrical run ranked as the number two grossing film of 2009 on the worldwide charts.

The final novel, Harry Potter and the Deathly Hallows, was split into two cinematic parts: Part 1 was released on 19 November 2010, and Part 2, the conclusion to both the final film and the series, was released on 15 July 2011. Part 1 was originally scheduled to be released in 3D and 2D, but due to a delay in the 3D conversion process, Warner Bros. released the film only in 2D and IMAX cinemas. However, Part 2 was released in 2D and 3D cinemas as originally planned.

The television broadcast rights for the series in the US are currently held by NBCUniversal, which typically airs the films on USA Network and Syfy. The film series has accrued nearly 1.3 billion viewings since its television debut-the highest-watched franchise in television broadcast history. All eight films became available to stream exclusively on HBO Max on 27 May 2020, the launch date of the service.

In celebration of the 20th anniversary of the release of Philosopher's Stone, in November 2021, it was announced that the entire film series would be relaunched in cinemas in Brazil, as well as a special edition of Philosopher's Stone on HBO Max. Much of the original cast and crew reunited for an HBO Max retrospective special titled Harry Potter 20th Anniversary: Return to Hogwarts, released on 1 January 2022.

A studio model of Hogwarts Castle as it appears in the films.

The Harry Potter films have been top-rank box office hits, with all eight releases on the list of highest-grossing films worldwide. Philosopher's Stone was the highest-grossing Harry Potter film up until the release of the final instalment of the series, Deathly Hallows Part 2, while Prisoner of Azkaban grossed the least. As well as being a financial success, the film series has also been a success among film critics. Opinions of the films are generally divided among fans, with one group preferring the more faithful approach of the first two films, and another group preferring the more stylised character-driven approach of the later films. Rowling has been consistently supportive of all the films and evaluated Deathly Hallows as her "favourite one" in the series.

Critical response

All the films have been a success financially and critically, making the franchise one of the major Hollywood "tent-poles" akin to , , Indiana Jones and Pirates of the Caribbean. The series is noted by audiences for growing visually darker and more mature as each film was released. However, opinions of the films generally divide book fans, with some preferring the more faithful approach of the first two films and others preferring the more stylised character-driven approach of the later films.

Some have also felt the series has a "disjointed" feel due to the changes in directors, as well as Michael Gambon's portrayal of Albus Dumbledore differing from that of Richard Harris. Author J. K. Rowling has been consistently supportive of the films, and evaluated Deathly Hallows as her favourite one in the series. She wrote on her website of the changes in the book-to-film transition, "It is simply impossible to incorporate every one of my storylines into a film that has to be kept under four hours long. Obviously films have restrictions - novels do not have constraints of time and budget; I can create dazzling effects relying on nothing but the interaction of my own and my readers' imaginations."

At the 64th British Academy Film Awards in February 2011, J. K. Rowling, David Heyman, David Barron, David Yates, Alfonso Cuarón, Mike Newell, Rupert Grint and Emma Watson collected the Michael Balcon Award for Outstanding British Contribution to Cinema for the series.

In addition, the American Film Institute recognised the entire series with a Special Award at the American Film Institute Awards in 2011. Special awards "are given to outstanding achievements in the moving image that do not fit into AFI's criteria for the other honorees". In its press release, the Institute referred to the films as "a landmark series; eight films that earned the trust of a generation who wished for the beloved books of J.K. Rowling to come to life on the silver screen. The collective wizardry of an epic ensemble gave us the gift of growing older with Harry, Ron and Hermione as the magic of Hogwarts sprung from the films and into the hearts and minds of Muggles around the world."

Harry Potter was also recognised by the BAFTA Los Angeles Britannia Awards, with David Yates winning the Britannia Award for Artistic Excellence in Directing for his four Harry Potter films.

Academy Awards

Six of the eight films were nominated for a total of 12 Academy Awards.

Some critics, fans, and general audiences have expressed disappointment over the Harry Potter series not winning any Oscars for its achievements. However, others have pointed out that certain films in the series had uneven reviews, in contrast to the three films of The Lord of the Rings, for example, which were all critically acclaimed. This has been partly attributed to the Harry Potter series going through several directors each with their own directorial style in contrast to the Lord of the Rings trilogy, which was filmed in one massive undertaking by the same director, writer, and producer. An observer noted that "cinematically, the Potter franchise-starter was marked by its commercial caution: its imagination was safely limited, its storytelling by-the-book in all senses, its budget spent to yield more value than magic" in contrast with how "Fellowship of the Ring, by comparison, was a reckless, wondrous extravagance".

Although not successful at the Oscars, the Harry Potter series has gained success in many other award ceremonies, including the annual Saturn Awards and Art Directors Guild Awards. The series has also gained a total of 24 nominations at the British Academy Film Awards presented at the annual BAFTAs, winning several, and 5 nominations at the Grammy Awards.

Radcliffe, Grint, and Watson were honored outside Grauman's Chinese Theatre at the Hand, Foot, and Wand Ceremony, Hollywood Walk of Fame, July 2007.

Philosopher's Stone achieved seven BAFTA Award nominations, including Best British Film and Best Supporting Actor for Robbie Coltrane. The film was also nominated for eight Saturn Awards and won for its costumes design. It was also nominated at the Art Directors Guild Awards for its production design and received the Broadcast Film Critics Award for Best Live Action Family Film along with gaining two other nominations.

Chamber of Secrets won the award for Best Live Action Family Film in the Phoenix Film Critics Society. It was nominated for seven Saturn Awards, including Best Director and Best Fantasy Film. The film was nominated for four BAFTA Awards and a Grammy Award for John Williams's score. Prisoner of Azkaban won an Audience Award, as well as Best Feature Film, at the BAFTA Awards. The film also won a BMI Film Music award along with being nominated at the Grammy Awards, Visual Effect Society Awards, and the Amanda Awards. Goblet of Fire won a BAFTA award for Best Production Design as well as being nominated at the Saturn Awards, Critic's Choice Awards, and the Visual Effects Society Awards.

Order of the Phoenix picked up three awards at the inaugural ITV National Movie Awards. At the Empire Awards, David Yates won Best Director. Composer Nicholas Hooper received a nomination for a World Soundtrack Discovery Award. The film was nominated at the BAFTA Awards, but did not win for Best Production Design or Best Special Visual Effects. Half-Blood Prince was nominated for BAFTA Awards in Production Design and Visual Effects, and it was in the longlists for several other categories, including Best Supporting Actor for Alan Rickman. Amongst other nominations and wins, the film also achieved Best Family Movie at the National Movie Awards as well as Best Live Action Family Film at the Phoenix Film Critics Society Awards, along with being nominated for Best Motion Picture at the Satellite Awards.

Deathly Hallows - Part 1 gained two nominations at the BAFTA Awards for Best Make-Up and Hair and Best Visual Effects, along with receiving nominations for the same categories at the Broadcast Film Critics Association Awards. Eduardo Serra's cinematography and Stuart Craig's production design were also nominated in various award ceremonies, and David Yates attained his second win at the Empire Awards, this time for Best Fantasy Film. He also obtained another Best Director nomination at the annual Saturn Awards, which also saw the film gain a Best Fantasy Film nomination. Deathly Hallows - Part 2 was released to critical acclaim, gaining a mix of audience awards. Part 2 of Deathly Hallows was also recognised at the Saturn Awards as well as the BAFTA Awards, where the film achieved a win for Best Special Visual Effects.

Box office performance

As of 2022, the Harry Potter film series is the 4th highest-grossing film franchise of all time, with the eight films released grossing over $7.7 billion worldwide. Without adjusting for inflation, this is higher than the first 22 films and the six films in the original and prequel trilogies. Chris Columbus's Philosopher's Stone became the highest-grossing Harry Potter film worldwide upon completing its theatrical run in 2002, but it was eventually topped by David Yates's Deathly Hallows - Part 2, while Alfonso Cuarón's Prisoner of Azkaban grossed the least.

Six films in the Harry Potter franchise - Harry Potter and the Prisoner of Azkaban, Harry Potter and the Goblet of Fire, Harry Potter and the Order of the Phoenix, Harry Potter and the Half-Blood Prince and Harry Potter and the Deathly Hallows, Parts 1 & 2 - have to date grossed around $216 million in IMAX theaters worldwide.

All-time rankings

Legacy and influence

Harry Potter was in the vanguard of a new approach to big-budget film-making. Most modern blockbuster franchises have two things in common: they are based on known properties such as books and comics, and they are steered by respected but little-known directors.

The Harry Potter films and their success have been retrospectively considered to have had a significant impact on the film industry. They are cited as having helped redefine the Hollywood blockbuster in the 21st century by initiating a shift toward established media franchises forming the basis of successful films. In the wake of the final film's release, Claudia Puig of wrote that the films "inspired every major studio to try to capture [its] alchemic formula, spawning a range of copycats and wannabes" and "also have shown Hollywood how to make a glossy blockbuster with an eye toward keeping costs down". A 2009 article from The Economist argued that the films were "in the vanguard" of adaptations of established properties being the modern film franchise model, citing The Lord of the Rings, and The Dark Knight Trilogy as examples of successful film series that followed Harry Potter's suit. Furthermore, the practice of splitting the finale of a film series into two back-to-back films began with the success of Deathly Hallows, and it would soon be replicated by The Twilight Saga: Breaking Dawn - Parts 1 and , and The Hunger Games: Mockingjay - Parts 1 and .

The films are also credited with signalling the popularity of films based on children's and young adult literature in the 2000s and 2010s, correlating with the book series' own literary influence. Costance Grady and Aja Romano, commenting on the whole Harry Potter franchise's legacy for in light of its 20th anniversary, wrote that youth-targeted literature has since become "a go-to well of ideas for Hollywood", pointing to the successes of The Twilight Saga and The Hunger Games.

The series has spawned a vast volume of fan fiction, with nearly 600,000 inspired stories catalogued, and an Italian fan film, Voldemort: Origins of the Heir, which received over twelve million views in ten days on YouTube.

References

External links

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Harry Potter is a film series based on the eponymous novels by British author J. K. Rowling. The series is produced and distributed by Warner Bros. Pictures and consists of eight fantasy films, beginning with Harry Potter and the Philosopher's Stone (2001) and culminating with Harry Potter and the Deathly Hallows - Part 2 (2011).

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Hamilton Morris creates and shares content with his followers on Patreon. These podcasts are released on this platform and on Youtube after first being posted on Patreon for a month or longer. The free versions of these conversations are made, in part, with the help of Hamilton's sponsors. Hope you enjoy!

Hamilton Morris creates and shares content with his followers on Patreon. These podcasts are released on this platform and on Youtube after first being posted on Patreon for a month or longer. The free versions of these conversations are made, in part, with the help of Hamilton's sponsors. Hope you enjoy!

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Hamilton Morris creates and shares content with his followers on Patreon. These podcasts are released on this platform and on Youtube after first being posted on Patreon for a month or longer. The free versions of these conversations are made, in part, with the help of Hamilton's sponsors. Hope you...

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