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Too Late for Tears

Too Late for Tears is a 1949 American film noir starring Lizabeth Scott, Don DeFore, and Dan Duryea. Directed by Byron Haskin, its plot follows a ruthless woman who resorts to multiple murders in an attempt to retain a suitcase containing US$60,000 ($ in ) that does not belong to her. The screenplay was written by Roy Huggins, developed from a serial he wrote for The Saturday Evening Post. Arthur Kennedy, Kristine Miller, and Barry Kelley appear in support.

Originally released by United Artists in the summer of 1949, the film was reissued under the alternate title Killer Bait in 1955. It received mixed reviews from critics. The film was a box-office bomb, and its financial failure resulted in the film's producer, Hunt Stromberg, filing bankruptcy. In the years since its release, it has been noted for featuring one of Scott's strongest performances, and her character one of the most vicious femme fatales in film noir.

Too Late for Tears has long been in the public domain and available in varying cuts. In 2015, the UCLA Film and Television Archive and Film Noir Foundation undertook extensive restoration of the film, combining elements sourced from France with additional material from the surviving 35 mm and 16 mm prints. The restored version of the film was released in 2016 on Blu-ray by Flicker Alley in the United States, and Arrow Films in the United Kingdom. The film has developed a cult following in the years since its release.

Plot
Los Angeles couple Jane and Alan Palmer are returning from a party when the driver in an oncoming car tosses a bag of cash into their car. The Palmers elude another car that pursues them, and in a compromise between Jane wanting to keep the money and Alan wanting to contact police, they agree to check the bag at Union Station. When Alan is at work, a man named Danny Fuller comes to the Palmer apartment and tells Jane the money was intended for him. Jane says the money is not there and proposes to split it.

Alan decides to turn the bag over to authorities, and Jane devises a plan to kill him. Jane suggests she and Alan take a pedal boat ride at MacArthur Park and tells Fuller to meet her there. After killing Alan, she and Fuller sink the body. Jane next attempts to kill Fuller, but he escapes. Jane devises a scheme to appear that Alan ran off to Mexico with the money by reporting him missing. Alan’s sister, Kathy, lives in the apartment next to the Palmers, becomes suspicious and finds the bag’s claim ticket.

Don Blake, claiming to be Alan’s war buddy, arrives to help find him. Don and Kathy are attracted to each other. Jane discovers Kathy has the claim ticket and pressures Fuller to buy poison to kill her. Jane unmasks Don as an imposter, knocks him out and retrieves the claim ticket. Jane retrieves the bag and Fuller tells her the money is his payment to remain silent over an insurance scam. Jane tricks him into fatally drinking the poison intended for Kathy. Jane escapes with the money to Mexico. Don tracks Jane to her hotel room and blackmails her into confessing she killed Alan. Don reveals he is really the brother of Jane’s first husband, whom he suspects she murdered, too. Mexican police breach the room and, cornered, Jane accidentally falls to her death from the balcony. Don returns to the hotel lobby where he and Kathy, now married, decide to end their honeymoon early and return to the United States.

Development
The film was adapted for the screen by Roy Huggins, based on his own serialized novel of the same name, which had been published by The Saturday Evening Post. The film's producer, Hunt Stromberg, had a successful film career working for Metro-Goldwyn-Mayer, had left the studio and began producing independent films.

Casting
Stromberg initially sought Joan Crawford for the lead role of Jane Palmer, Kirk Douglas as Danny Fuller, and Wendell Corey as Don Blake. Instead, Hal B. Wallis, with whom Lizabeth Scott was under contract, loaned out her for the project at the request of director Byron Haskin, who had previously directed Scott in I Walk Alone (1947). Don DeFore and Dan Duryea were ultimately cast as Don and Danny, respectively.

Release
Too Late for Tears was distributed by United Artists, opening regionally in Arkansas and Kentucky on July 3, 1949. The film opened in Los Angeles on July 13, 1949.

It was re-released in August 1955 under the alternate title Killer Bait by Astor Pictures, a distributor that specialized in theatrical reissuing of films. Astor Pictures often paired the film as a double feature with Johnny Holiday (1948), which they reissued under the alternative title Boy's Prison.

Box office
Too Late for Tears was a box-office bomb at the time of its release, sending its producer into bankruptcy.

Critical response
Upon its original release, Too Late for Tears received mixed reviews from critics. A. H. Weiler of The New York Times wrote: "If proof be needed at this point that money is the root of all evil—a theme, incidentally, which has been the root of more than one motion picture—then Too Late for Tears, which came to the Mayfair on Saturday, is proof positive. For producer Hunt Stromberg, director Byron Haskin and scenarist Roy Huggins, who adapted his own Saturday Evening Post serial, herein have fashioned an effective melodramatic elaboration of that theme. Despite an involved plot and an occasional overabundance of palaver, not all of which is bright, this yarn about a cash-hungry dame who doesn't let men or conscience stand in her way, is an adult and generally suspenseful adventure."

Philip K. Scheuer of the Los Angeles Times conceded that Scott "gives the role everything she does have with a growling, unvarying intensity," but felt that overall the film was "a routine specimen of crime melodrama." A review published by the Spokane Chronicle described the film as "dramatic and tragic" and "an action-packed film which has its good moments." Alternately, a reviewer for the Detroit Free Press was unimpressed by Scott's performance, writing: "She produces a characterization which is without explanation or belief... Miss Scott appears terribly tired in the film. Her acting has the same quality. All of which leaves what should have been an exciting movie in a somewhat rundown condition."

Film critic Dennis Schwartz in 2005 wrote a favorable review: "Byron Haskin's low-budget film noir makes good use of its Los Angeles locale and its lady bluebeard is fun to watch as she does her nasty gun thing with her nice guy hubby and rotten poison thing with her boyfriend (she took care of her first hubby off camera, so we're not sure how he got it!)...Though a minor film noir, it relates to the ambitions the middle-class had during the postwar period to better their life materially and socially. Jane's drive for wealth was so extreme that she will not stop at murder to rise above her impoverished middle-class circumstances, and her warped character is used to show how money can't buy one happiness. The husky-voiced winsome smiling Lizabeth Scott turns in a finely tuned performance as the femme fatale; while Dan Duryea is in his element as the alcoholic weak-kneed cad, who shows he doesn't have as much stomach for his criminal mischief as does his lady accomplice."

, the film holds a 100% approval rating on the review aggregator Rotten Tomatoes, based on five critical reviews.

Restoration
Too Late for Tears fell in the public domain in the decades after its release, owing to the dissolution of its corporate holders who failed to renew its copyright. The original camera negatives were subsequently lost. It has been released on VHS and DVD by numerous distribution companies.

The Film Noir Foundation, dedicated to preserving film noirs, had sought to restore the film since its inception in 2006, but were unable to locate quality prints. In 2011, Eddie Muller, a film scholar and president of the foundation, received anonymous correspondence regarding a 35 mm print of the film that had allegedly been sold to a collector on the East Coast. Muller tracked the print to a collector in Baltimore, who claimed the print had been kept in storage, but the collector died before he was able to negotiate a sale or disclose its location.

After a 35 mm print dupe negative was located in France, the UCLA Film and Television Archive and the Film Noir Foundation began undertaking the restoration process, with the Hollywood Foreign Press Association, providing additional funding. The restoration entailed the use of both the French 35 mm print (bearing the French language title, Le Tigresse), as well as an American 35 mm print from 1955, when the film was re-released bearing the alternate title Killer Bait. Because of this, the film's original English-language opening title had to be reconstructed via rotoscoping and matching the fonts as they appeared on an inferior 16 mm print of the film. The film's closing titles also had to be reconstructed using the same method.

On January 25, 2014, the restored 35 mm print was premiered by the Film Noir Foundation at Noir City 12 at the Castro Theatre in San Francisco. The restored print of the film was released in a DVD and Blu-ray set by Flicker Alley in May 2016. The following month, British distributor Arrow Films released the restored print in a DVD and Blu-ray set through their Arrow Academy label.

Legacy
Scott's performance in the film is regarded by several critics as among her best work. Her femme fatale character in the film has been noted as one of the most merciless and avaricious in film noir, and marked a departure from her previous performances in Pitfall (1948), which featured elements of character vulnerability. Film scholar Fabio Vighi notes in Critical Theory and Film: Rethinking Ideology Through Film Noir that, "Like few other femmes, she appears unstoppable, ready to do anything to achieve her object."

Interviewed in 2001, Scott commented on the role: "Obviously, there was a softness and an inordinate amount of feminine qualities in [the character]... When a woman like this is corrupted, she would surrender to that corruption. Money would become her delight and her total obsession, and she would then kill for it."

Too Late for Tears has developed a cult following in the decades since its original release. Todd Weiner of the UCLA Film & Television Archive wrote upon the film's 2016 Blu-ray release: "Modern audiences now recognize it as a darkly satisfying and atmospheric meditation on the covetous societal and materialistic ambitions of postwar middle-class America." Film critic and writer Eddie Muller cites the film as "The best un-known American film noir of the classic era."

title: Too Late for Tears


text:
User talk:Botteville

Intro by botteville
I just cleared the deck for action, to use a naval term from the days of sail (wonderful days). Now I can more easily see your comments, if you have any. and you can more easily find my replies, if any. Chances are, I won't be replying. Nothing personal, and nothing to do with the merits or demerits of your argument. We just don't have the space to conduct arguments. You're taking responsibiity for your inputs and we're exercising the "presumption of good faith." Whether it is or is not is your burden. I don't keep your old talk around for long so you probably won't be seeing much here. Regard it as an erasable blackboard.Botteville (talk) 21:58, 4 May 2020 (UTC)

Temporary retirement
Hello. Due to circumstances that have nothing to do with WP or any article or person on it I am taking a break here. If I was involved in any discussion recently, don't count on my being gone quite yet. I may be back, probably not for months, possibly not. It is uncertain. Whether we live in some New Mexican Garden of Eden or in the cold, blustery, working class cities of the north, we all share in the experience of uncertainty. Nothing is certain but the uncertain. So, you have it good for a while without me on. Only for a while. I will check for messages from time to time. Ciao.Botteville (talk) 13:12, 23 January 2023 (UTC)
 * As it turns out, I can come back now on a limited basis. I'm back. It was really worth taking a break for a while. Sometimes you can't see the forest for the trees. After looking at the encyclopedia from the outside I can see how valuable it really is. You end up starting there whether you plan to do so or not. One cannot deprecate the professionals, who are the ultimate word on this or that topic and made a huge committment to do that. But, in between there has to be something, and I guess we're it. I know the bickering is often hard to take. But, it seems to me the result is finally worth it. Glad to be back. I have decided to change my technique, as sometimes I am advised to do. Instead of fighting it through sentence by sentence I will drop in finished blocks. So, you will see less of me day to day. Ciao. See you around.Botteville (talk) 19:04, 23 March 2023 (UTC)

Category:Houses in Rowley, Massachusetts has been nominated for merging
Category:Houses in Rowley, Massachusetts has been nominated for merging. A discussion is taking place to decide whether this proposal complies with the categorization guidelines. If you would like to participate in the discussion, you are invited to add your comments at the category's entry on the categories for discussion page. Thank you. User:Namiba 18:32, 11 March 2023 (UTC)

 * Sorry I missed that one. Left reply on UP.Botteville (talk) 19:42, 23 March 2023 (UTC)

ArbCom 2023 Elections voter message
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Discussion on Etruscan religion
Hi, just an FYI that I just tagged you into a talk-page discussion initiated by a student editor. I'm sure any insight or encouragement you have to offer there would be much appreciated! Cheers, Suriname0 (talk) 18:21, 28 November 2023 (UTC)

 * Hey User:Botteville, sorry to hear about your recent health issues! I saw your reply on Brianda's talk page, and I guess I was a little confused by the tone? It seems to be based on a misreading of my reply... for example, "You're accusing me of copying a published text and putting it in WP under my own name," which I certainly didn't write and didn't intend to imply. My apologies if I did! It seems like the confusion might be based on my use of the word "pull", which I was using idiomatically to refer to the idea rather than the literal words. I was hoping that you might have some useful words for a student editor doing exactly what you do as an experienced editor (researching a topic/idea and summarizing it in a Wikipedia article); my sincere apologies for being so presumptuous! Suriname0 (talk) 01:28, 14 December 2023 (UTC)
 * You're right, it was based on "pull." I never pull anything unless an attributed quote. What would be in that for me? I'm way past the stage of trying to look good. Nobody on WP ever looks good to anyone else. I just like to do this research for recreation. There are plenty of investigators on WP and they all come on the same way, to trick you into some sort of admission. I got nothing to admit. In the business, if you want to steal someone's writing you make it look as though they are stealing from you. You know, if you want to strike an enemy, you must do it first, and you must make it look as though he did it to you. I think we've see plenty of that in the media lately. We don't need any more. But I accept your explanation and apology. Why should I not? If you care enough to apologize you are no doubt sincere. There is a lot of insincerity on here but these are almost always wreckers, either of the work of individuals (the psychotic wreckers) or of Wikipedia in general (the political wreckers) but so far you don't seem to be one of those. As to your request for advice, I can only re-assert what I already said even though you may not like it. You mention consulting a few books on the Etruscans. When I was working on Etruscans I consulted at least a dozen books, lots of articles, resorting to Interlibrary loans on some. And on the Internet there are now vast resources; for example, Hesperia (journal) has a vast archive of back issues, all excellent articles. You need to get the right journals. In case you aren't familiar with the Wikimedia LIBRARY function you should be. There is absolutely no substitute for scholarship either in the halls of Academia or out of them. To get results, do the work. As for the Etruscans, like the Romans and Greeks, never doing anything without consulting the gods, gosh, I should have put my ref in. It is such a standard dictum I hardly felt it necessary to bother (a mistake no doubt). What do you think the oracle business was all about? If anyone dared to move without the omens he was setting himself up for disaster. Alexander was perhaps the most superstitious of all. He went way out of his way to get omens. Once a priestess refused him in the middle of the Sahara and he pressed her so hard she said finally, Oh, you are irresistable, and he took that as the omen and prediction of his victories. This is all very well known. If your student is not at that level he needs to get at that level so that he too can exercise judgement on what to say. I don't want to seem like the bad guy, but I refuse to do the work for him/her in his own interest. That is what is needed. Well this has been an interesting discussion. I got to get on to some problems I am working on. Botteville (talk) 04:24, 14 December 2023 (UTC)

Nomination of Adrabaecampi for deletion
A discussion is taking place as to whether the article Adrabaecampi is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

The article will be discussed at Articles for deletion/Adrabaecampi until a consensus is reached, and anyone, including you, is welcome to contribute to the discussion. The nomination will explain the policies and guidelines which are of concern. The discussion focuses on high-quality evidence and our policies and guidelines.

Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion notice from the top of the article until the discussion has finished. JMWt (talk) 08:05, 28 March 2024 (UTC)

 * I couldn't find ay clear way to participate in that discussion. It seemd like a lot of unfamiliar code to me. So here it is. Please read this:
 * [ https://www.jassa.org/?p=11500 In Nomine Jassa]
 * The "article" is a wiktionary ref no doubt. We can't have articles on single references. However it should be upgraded to the point where it covers the main issue: what tribe is it really? It appears as though Adrae is really Odrae, the tribe that resides in the country along the Oder in territory that will become Poland. An expanded article might stay an article then. Alternatively I suggest an item in a list article listing Germanic tribes. If you feel a real need to dispose of it, then go ahead, Wiktionaryize it. At some point someone covering these tribal names will probably want to bring it back. Best I can do. Ciao. Botteville (talk) 09:16, 28 March 2024 (UTC)

Proposed deletion of Sibiricum

The article Sibiricum has been proposed for deletion because of the following concern: "Specific epithets are never used alone and as WP:partial title matches do not warrant disambiguation pages."

While all constructive contributions to Wikipedia are appreciated, pages may be deleted for any of several reasons.

You may prevent the proposed deletion by removing the notice, but please explain why in your edit summary or on the article's talk page.

Please consider improving the page to address the issues raised. Removing will stop the proposed deletion process, but other deletion processes exist. In particular, the speedy deletion process can result in deletion without discussion, and articles for deletion allows discussion to reach consensus for deletion. Paul_012 (talk) 13:33, 30 June 2024 (UTC)

 * It looks as though you are handling this page as part of a project. In that case you know more than I. Just in general I know we cannot disambiguate every species name. There are probably millions.Beyond that I don't have anything significat to say. I'm following your lead.~ Botteville (talk) 15:30, 30 June 2024 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User talk:Botteville


text:
Talk:Elmer Higgins

Vote for Deletion
This article survived a Vote for Deletion. Its content was merged and redirected to the current target. The discussion can be found here. -Splash 19:29, 23 July 2005 (UTC)

title: Talk:Elmer Higgins


text:
Missing dollar riddle

The missing dollar riddle is a famous riddle that involves an informal fallacy. It dates to at least the 1930s, although similar puzzles are much older.

Statement
Although the wording and specifics can vary, the puzzle runs along these lines: Three guests check into a hotel room. The manager says the bill is $30, so each guest pays $10. Later the manager realizes the bill should only have been $25. To rectify this, he gives the bellhop $5 as five one-dollar bills to return to the guests.

On the way to the guests' room to refund the money, the bellhop realizes that he cannot equally divide the five one-dollar bills among the three guests. As the guests are not aware of the total of the revised bill, the bellhop decides to just give each guest $1 back and keep $2 as a tip for himself, and proceeds to do so.

As each guest got $1 back, each guest only paid $9, bringing the total paid to $27. The bellhop kept $2, which when added to the $27, comes to $29. So if the guests originally handed over $30, what happened to the remaining $1?

There seems to be a discrepancy, as there cannot be two answers ($29 and $30) to the math problem. On the one hand it is true that the $25 in the register, the $3 returned to the guests, and the $2 kept by the bellhop add up to $30, but on the other hand, the $27 paid by the guests and the $2 kept by the bellhop add up to only $29.

Solution
The misdirection in this riddle is in the second half of the description, where unrelated amounts are added together and the person to whom the riddle is posed assumes those amounts should add up to 30, and is then surprised when they do not — there is, in fact, no reason why the (10 − 1) × 3  + 2  = 29 sum should add up to 30.

The exact sum mentioned in the riddle is computed as: SUM = $9 (payment by Guest 1) +  $9 (payment by Guest 2) +  $9 (payment by Guest 3) +  $2 (money in bellhop's pocket)

The trick here is to realize that this is not a sum of the money that the three people paid originally, as that would need to include the money the clerk has ($25). This is instead a sum of a smaller amount the people could have paid ($9 × 3 people = $27), added with the additional money that the clerk would not have needed had they paid that smaller amount ($27 paid - $25 actual cost = $2). Another way to say this is, the $27 already includes the bellhop's tip. To add the $2 to the $27 would be to double-count it. So, the three guests' cost of the room, including the bellhop's tip, is $27. Each of the 3 guests has $1 in his pocket, totaling $3. When added to the $27 revised cost of the room (including tip to the bellhop), the total is $30.

To obtain a sum that totals to the original $30, every dollar must be accounted for, regardless of its location.

Thus, the sensible sum can be expressed in this manner: $30 = $1 (inside Guest pocket) +  $1 (inside Guest pocket) +  $1 (inside Guest pocket) +  $2 (inside bellhop's pocket) +  $25 (hotel cash register)

This sum does indeed come out to $30.

To further illustrate why the riddle's sum does not relate to the actual sum, the riddle can be altered so that the discount on the room is extremely large. Consider the riddle in this form:

"Three people check into a hotel room. The clerk says the bill is $30, so each guest pays $10. Later the clerk realizes the bill should only be $10. To rectify this, he gives the bellhop $20 to return to the guests. On the way to the room, the bellhop realizes that he cannot divide the money equally. As the guests didn't know the total of the revised bill, the bellhop decides to just give each guest $6 and keep $2 as a tip for himself. Each guest got $6 back: so now each guest only paid $4; bringing the total paid to $12. The bellhop has $2. And $12 + $2 = $14 so, if the guests originally handed over $30, what happened to the remaining $16?"

Now it is more obvious that the question is quite unreasonable. One cannot simply add a couple of payments together and expect them to total an original amount of circulated cash.

More economically, money is accounted by summing together all paid amounts (liabilities) with all money in one's possession (assets). That abstract formula holds regardless of the relative perspectives of the actors in this exchange.

 * The guests of the hotel paid $27, but also have $3 among their pockets at the story's end. Their assets are $3, and their liabilities are $27 ($30 = 27 + 3). Thus, the original total is accounted for.
 * From the perspective of the hotel clerk, the hotel has $25 in assets and lost $5 in liabilities ($30 = 25 + 5).
 * From the perspective of the bellhop, his assets are $2, and his liabilities are $3 to guests and $25 to the register at the desk ($30 = 2 + 3 + 25).

To illustrate the issue through equations:

1) 10 + 10 + 10 = 30

2) 10 + 10 + 10 = 25 + 2 + 3

3) 10 + 10 + 10 - 3 = 25 + 2 + 3 - 3 (adding -3 to both sides of the equation to cancel out the +3 on the right side)

4) 10 - 1 + 10 - 1 + 10 - 1 = 25 + 2

5) 9 + 9 + 9 = 25 + 2 (obs: tip to bellhop has already been paid)

6) 27 = 27

How the riddle is deceptive comes in line 7:

7) 9 + 9 + 9 = 25 + 2

8) 9 + 9 + 9 + 2 ≠ 25 (pushing +2 to the other side without inverting the sign)

9) 27 + 2 ≠ 25

10) 29 ≠ 25

How it should be:

7) 9 + 9 + 9 = 25 + 2

8) 9 + 9 + 9 -2 = 25 + 2 -2 (adding -2 to both sides of the equation to cancel the +2 on the right side, which means the bellhop returned the tip or gave a discount of $2)

9) 9 + 9 + 9 - 2 = 25

10) 27 - 2 = 25

11) 25 = 25

The puzzle should subtract the bellhop's tip from the $27 rather than add it.

History
There are many variants of the puzzle. Professor David Singmaster's Chronology of Recreational Mathematics suggests these type of mathematical misdirection puzzles descended from a problem in an 18th-century arithmetic book, Francis Walkingame's Tutor's Assistant which was published, and republished, from 1751 to 1860 where it appeared on page 185, prob. 116 in this form, "If 48 taken from 120 leaves 72, and 72 taken from 91 leaves 19, and 7 taken from thence leaves 12, what number is that, out of which, when you have taken 48, 72, 19, and 7, leaves 12?" Singmaster adds, "Though this is not the same as the withdrawal problems below, the mixing of amounts subtracted and remainders makes me think that this kind of problem may have been the basis of the later kind."

An 1880 misdirection is given as "Barthel sees two boxes at a jeweller's, priced at 100 and 200. He buys the cheaper one and takes it home, where he decides he really prefers the other. He returns to the jeweller and gives him the box back and says that the jeweller already has 100 from him, which together with the returned box, makes 200, which is the cost of the other box. The jeweller accepts this and gives Barthel the other box and Barthel goes on his way. Is this correct?"

A model more similar in style to the modern version was given by Cecil B. Read in his 1933 Mathematical Fallacies. His puzzle produces an extra dollar: A man puts $50 in the bank. Then on subsequent days he withdraws $20 leaving $30; then $15 leaving $15; then $9 leaving $6, and finally $6 leaving $0. But $30 + $15 + $6 = $51. Where did the extra dollar come from?

The actual solution to this riddle is to add correctly (correct time, correct person and correct location) from the bank point of view which in this case seems to be the problem:

 * 1) First day: $30 in the bank + $20 owner already withdrew = $50
 * 2) Second day: $15 in the bank + ($15 + $20 owner already withdrew) = $50
 * 3) Third day: $6 in the bank + ($9 + $15 + $20 owner already withdrew) = $50

From the owner point of view the correct solution is this:

 * 1) First day: $20 owner already withdrew + $30 in the bank = $50
 * 2) Second day: $20 owner already withdrew + $15 owner already withdrew + $15 in the bank = $50
 * 3) Third day: ($20 owner already withdrew + $15 owner already withdrew + $9 owner already withdrew) + $6 in the bank = $50

The solution appears very obvious if the owner withdraws every day only $10 from $50. To add up 40 + 30 + 20 + 10 using the same pattern from above would be too obviously wrong (result would be $100).

The answer to the question, "Where did the extra dollar come from?” can be found from consecutively adding the bank rest from three different days. This way is correct only if the money owner withdraws every day exact half of the money. Then it will add up. ($25 + $12.50 + $6.25) + $6.25 = $50

Another entry from 1933, R. M. Abraham's Diversions and Pastimes (still available in a Dover version) poses a slightly different approach with this problem from page 16 (problem 61). "A traveller returning to New York found that he had only a ten-dollar postal money order, and that his train fare was seven dollars. The ticket clerk refused to accept the money order, so the traveller went across the road to a pawn shop and pawned it for seven dollars. On his way back to the station he met a friend, who, to save the traveller the trouble of returning to redeem the money order, bought the pawn ticket from him for seven dollars. The traveller then bought his ticket and still had seven dollars when he got to New York. Who made the loss?" David Darling in his The Universal book of Mathematics, credits this as an earlier version of the three men in a hotel version above.

Even more similar is the English, The Black-Out Book by Evelyn August in 1939; What happened to the shilling?, pp. 82 & 213. Three girls each pay five shillings to share a room. The landlord refunds 5 shillings via the bellboy, who gives them each one and keeps two.

And one more from the same theme appears in an Abbott and Costello routine in which Abbott asks Costello for a fifty-dollar loan. Costello holds out forty dollars and says, "That's all I have." Abbott responds, "Fine, you can owe me the other ten."

The riddle is used by psychotherapist (Chris Langham) with his mathematician client (Paul Whitehouse) in episode 5 of the 2005 BBC comedy series Help.

A variation, also involving shillings and three men in a restaurant who are overcharged, appears in the third volume of Jennifer Worth's Call the Midwife books, Farewell to the East End (2009). There, repairman Fred poses it to the midwives of Nonnatus House.

Another variation, replacing the guests with shepherds, the clerk with a troll, the dollars with sheep and the bellboy with the troll's son, appears in Dr. No by Percival Everett.

title: Missing dollar riddle


text:
Gitta Steiner

Gitta Hana Steiner (April 17, 1932 – January 1, 1990) was a Czech-American composer and pianist who is best known for her works for percussion instruments.

Steiner was born in Prague to Erna Bondy and Erhard (Eric) Steiner. The family moved to New York in 1940, and became U.S. citizens in 1941. Steiner earned a B. Mus. and M.S. from the Juilliard School, where she received the Abraham Ellstein Scholarship. She was a fellow at the Tanglewood Music Center in 1967. Her teachers included Elliott Carter, Vincent Persichetti, and Gunther Schuller. She taught piano and theory privately and at the Brooklyn Conservatory of Music.

Steiner received awards and honors which included the 1972 American Society of Composers and Publishers (ASCAP) Award, the Donell Library Composer’s Forum Honor, the Gretchaninoff Memorial Prize, and the Marion Freschl Award. Her music was published by Seesaw Music Corporation (today Subito Music Corporation).

title: Gitta Steiner


text:
Talk:Wenxiu

Untitled
Can an Administrator change the title of the article. Her name was Wen Xiu, not Wen Xie. —Preceding unsigned comment added by 142.103.168.24 (talk • contribs)
 * It is already done. Meanwhile, I am wondering how to write her name in traditional Chinese. 文綉 or 文繡?--Jusjih 17:18, 31 January 2007 (UTC)

WHERE ARE THE SOURCES????

Whoever added this or is knowledgeable on the subject, please give references pronto. How do we know this is not lifted verbatim from a copyrighted encyc, etc.?

Additionally, the information itself is very slight. —Preceding unsigned comment added by HammerFilmFan (talk • contribs) 21:35, 11 July 2010 (UTC)

title: Talk:Wenxiu


text:
Wikipedia:Articles for deletion/DeColumna

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was speedy. Sasquatch ↔讲↔看 05:17, August 4, 2005 (UTC)

DeColumna
46 Google hits, all of which are apparently "DeColumna" as a last name - I'm not 100% sure what the topic of the article even is, but it appears that it is "DeColumna" as a last name, which I sincerely doubt is notable. Junkyard prince 04:27, 4 August 2005 (UTC)
 * speedy as nonsense. humblefool®Deletion Reform 04:31, 4 August 2005 (UTC)
 * Speedy Delete, Nonsense. Xaa 05:12, 4 August 2005 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


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Pergamino

Pergamino is an Argentine city in the Province of Buenos Aires. It has a population of about 104,985 inhabitants as per the and is the administrative seat of its county, Pergamino Partido. Its UN/LOCODE is ARPGO.

History
Long valued for its many springs and fertile land, the area had been home to the Charrúa and Araucanian people when it was first noticed by Spanish colonist around 1620. Becoming a posada along the trade route between colonial Buenos Aires and Córdoba, the settlement was given its name on 3 January 1626, for the parchment paper (document lost by a group of Spaniards) found there and conforming to an Araucanian term meaning "red soil."

The settlement's first businesses were established in 1700 and in 1749, recurrent attacks by displaced natives led to the construction of a fort. These attacks did not cease, however, and on 8 August 1751 the settlement was destroyed. The site continued to be of interest, and Commander Juan González ordered the village rebuilt on orders from the Buenos Aires colonial government in 1769. The Curate of nearby Arrecifes ordained a Parish in Pergamino in 1779 and the new Viceroyalty of Río de la Plata assigned the area a partido (county) in 1784. The fort played a prominent role during the initial battles in the war for independence and, in 1815, was the site of a mutiny led by Col. Ignacio Álvarez Thomas against the fledgling nation's Head of State, Director Carlos María de Alvear. Col. Álvarez Thomas' coup d'état against Director de Alvear's brief though highly divisive autocracy averted the dissolution of the United Provinces of the River Plate, the confederacy that later became Argentina.

Following the struggle for independence, the progressive new Governor of Buenos Aires, Martín Rodríguez, assigned Pergamino a Justice of the Peace in 1822 and the first school was opened in 1828. The town soon became home to a number of abattoirs and following the 1829 rise of Governor Juan Manuel de Rosas (whose family interests centered around cattle-raising) a close alliance developed between the governor and Pergamino's most prominent families, the Acevedos and the Anchorenas; Rosas' repressive regime, however, resulted in the sole school's closure in 1838. Following Governor Rosas' 1852 overthrow, the local gentry allied themselves to Bartolomé Mitre, a prominent advocate on behalf of Buenos Aires Province for greater autonomy. Mitre was elected governor in 1860 and President of Argentina in 1862. President Mitre's 1862 establishment of Argentina's first institute of Agronomy helped lead to the development of a new economic activity in the region around Pergamino: intensive agriculture. The first Argentine grain shipment to arrive intact in the United Kingdom in 1875 touched off an agricultural boom that for Pergamino, resulted in the massive cultivation of maïze. The city's growth accelerated further upon the arrival of the Central Argentine Railway in 1882, en route to Rosario. Pergamino, whose population by then exceeded 10,000 and home to over 90 registered businesses, was formally designated as a city on 23 October 1895.

Continuing to rely economically on maize, local landowners funded the establishment of an agricultural laboratory in 1912. Pergamino's population, now mostly European immigrants and their children, nearly tripled to almost 30,000 between 1895 and 1914; this era saw the establishment of important Basque, Piemontese, Provençal and Lebanese communities, as well as the inauguration of the Hotel Roma in 1913, one of the best-known art nouveau structures in the area. One immigrant from the Piedmont, Enrique Venini, founded Pergamino's first newspaper, La Opinión, in 1917. The city's growing immigrant communities also included a sizable contingent of British railway engineers and other technicians associated with the rapidly expanding railways. A number of these staffers and the Central Argentine Railway's director, Ronald Leslie, organized Pergamino's first football team on 18 November 1918, christening it in honor of a British Field Marshal famed for his roles in the Boer War and in World War I, Gen. Douglas Haig. Club Atlético Douglas Haig has enjoyed regional prominence in the Argentine B League. Pergamino's main church and city hall were both completed in 1930. Following a decade of prosperity, however, the Great Depression led to the ruin of the majority of the area's small landholders. The city soon began to recover, and celebrated the opening of the Municipal Fine Arts Museum in 1936, for instance. A devastating flood in 1939 led to construction of levees and canals along the Pergamino River. Growing to nearly 50,000 people by 1947, the city's first large manufacturing establishments began to operate at this time. Pergamino's agricultural sector, however, was strained by the creation of a national export grain purchaser, the IAPI, by President Juan Perón in 1946; although Pergamino benefited from IAPI investment in irrigation and other infrastructure works, the low prices the agency paid local growers also led to the bankruptcy of number. The dissolution of the IAPI following Perón's overthrow in 1955 and the 1956 establishment of the National Agricultural Laboratory (INTA) in Pergamino helped revitalize the sector in the area and nationally.

The elections of 1963 carried a native of Pergamino, Dr. Arturo Illia, to the Presidency; President Illia prioritized economic growth while keeping national budgets nearly balanced, the combination of which helped lead to unprecedented growth in Pergamino. The city's first high-rises were built, as well as the industrial district; President Illia graced his birthplace with numerous visits during his tenure. Another native of Pergamino, Héctor Chavero, became nationally renowned during that era after releasing an album of folklore ballads and narration, El payador perseguido ("The Persecuted Troubadour"); by then, he was known by his pseudonym, Atahualpa Yupanqui and has remained, long after his death in 1992, arguably the most influential musician of his genre in Argentina.

One of Pergamino's Lebanese immigrants, Isaac Annan, established the city's first garment factory during the late 1940s, creating Far West Jeans and Manhattan Shirts, two of Argentina's best-known domestic clothing brands. By 1970, Wrangler Jeans, Fiorucci, Levi's, Lee Jeans and a number of local firms, had established large textile plants, employing about 6,000. Roberto Genoud, the son of French immigrants, established the area's largest lumber and furniture factory. Pergamino continued to grow, reaching a population of 70,000 in 1980, becoming northern Buenos Aires Province's industrial center. Economic instability nationwide began to take its toll on that sector after 1975, however, and by 1985 a number of local textile manufacturers had closed or were replaced by smaller cooperatives. The city was chosen as the site for the prestigious National Viral Research Institute (INEVH) in 1978, and was home to one of the nation's first cable television stations in 1985. The city's main daily, La Opinión, closed in 1989 amid a national economic crisis. Financially distressed, the daily's founders, the Veninis, sold the company to local cable TV entrepreneur Hugo Apesteguía, the current owner.

Serious floods in 1939, 1975, 1984 and 1995 underscored the need for more investments in infrastructure and by 2002, the combined effects of a wave of imports and an acute economic crisis led to the closure of most of Pergamino's industries and many of its retail establishments; the textile industry, in particular, was reduced to about 600 workers; amid rising unemployment, crime rates and general pessimism, one of the most notable achievements in that difficult era was the establishment of the Pergamino Regional University, the city's first institution of higher learning, in 1993. The school was absorbed into the National University of Northwestern Buenos Aires upon that latter entity's creation in 2002, and its Pergamino campus today enrolls about 500 students yearly.

The city today
The economic recovery Argentina began to experience in 2003 has led to a dramatic recovery in the city's industrial base, as well the area's agricultural production; in 2003 alone, the city saw 2,500 manufacturing jobs return. The county's 2950 km2 is dedicated almost entirely to agriculture and, though local farmers have diversified into poultry and dairy production, Pergamino still plays an important role in Argentina's cereal harvest, particularly soy and maize, as well as being home to half the national sales of seed for cultivation; as such, the city was declared National Capital of the Seed in 1998. Even so, agricultural employment accounts for only 8% of the county's total and employment in manufacturing, which has growing by about 13% annually, accounted for 22% of the total in 2006, or about 10,000 jobs. Though still led by the textile and lumber industries, manufacturing in Pergamino is more diversified than in the past and these two sectors today employ less than a third of industrial labor. Pergamino's financial sector has likewise recovered: the value of locally originated loans nearly doubled between 2002 and 2006, reaching US$52 million and local deposits nearly tripled, reaching almost US$100 million.

The mayor of Pergamino, Dr. Héctor Gutiérrez, is (as most of the city's past mayors) affiliated with the centrist Radical Civic Union, Argentina's oldest continuously existing political party. Elected in 1999, he has capitalized on the city's economic recovery by emphasizing public works and in 2005, successfully lobbied the Administration of President Néstor Kirchner for a 180 km (112 mi) extension of the Route 8 expressway into Pergamino, a long-overdue improvement for one of the nation's most-transited stretches of two-lane road.

Climate

Pergamino has a humid subtropical climate (Köppen climate classification Cfa) with hot, humid summers and mild to cool winters. The highest temperature recorded was 41.9 °C on January 9, 2012 while the lowest temperature recorded was -10.8 °C on June 14, 1967.

Notable people

 * Arturo Umberto Illia Former President of Argentina from October 12, 1963, to June 28, 1966, and a member of the centrist UCR.
 * Atahualpa Yupanqui (22 January 1908 - 23 May 1992) was an Argentine singer, songwriter, guitarist, and writer. He is considered the most important Argentine folk musician of the 20th century.
 * José Luis "Pepe" Motta began his career playing tangos at the age of 14 years in Argentina. He won including two Emmy Awards, the music of the "Rose Parade" special live event for the Univision television network in the United States in 2000 and 2001. As a composer, arranger and producer received several awards, such as platinum and gold, for two consecutive years. He was on the list of "most famous Latino Producers" at Billboard magazine, the Univision television network named him "Best Producer of the Year " and also received the award from BMI's most popular song.
 * Paola Suárez (born 23 June 1976 in Pergamino, Buenos Aires, Argentina) was a top 10 tennis player in the early 2000s.
 * Augusto Fernández (Football Player) for the famous River Plate and Vélez Sársfield Teams.
 * Carlos Barbarito (Poet)
 * Hilda Herzer (1938-2012), sociologist, environmentalist and professor
 * Jesús Iglesias (1922-2005), racing driver
 * José Luis Espert (Born November 21, 1961), member of the Argentine Chamber of Deputies since December 10, 2021 and former Presidential Candidate in 2019.

title: Pergamino


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Arkhon Infaustus

Arkhon Infaustus is a French blackened death metal band from Paris. They formed in 1997, are signed to Osmose Productions, and have released four albums to date.

History
Arkon Infaustus was created in late 1997 by Dk Deviant, joined by Torturer. They first released an EP entitled In Sperma Infernum through Mordgrimm, which was limited to 666 copies. They then signed to Spikekult Records and released another EP entitled Dead Cunt Maniac in 2000. This got them signed to Osmose Productions. Their first album, Hell Injection, was released in 2001 and limited to 500 copies. After their second album, Filth Catalyst (2002), they toured with Mortician. They then went on to do a split with the black metal band Revenge, and toured in Europe with Vader.

In 2004 they released Perdition Insanabilis and toured Europe with Deicide, and again in 2005 with Belphegor and In Aeternum. In 2007, they released an EP, Annunciation, and an album, Orthodoxyn, and in April and May 2008 toured Europe with Angelcorpse.

In 2017, the band came back releasing an EP, Passing the Nekromanteion.

Musical style
Arkhon Infaustus use distorted raspy vocals, double bass, and synthesizers to play a style of black/death metal similar to that of Angelcorpse. Their lyrics usually deal with Satanism, sex, anti-Christianity, and general acts of debauchery.

Current members

 * Dk Deviant – bass, vocals (1997-)
 * Sylvain "Skvm" Butet – drums (2017-)

Former members

 * Guillaume "666 Torturer" Warren – bass, vocals (1997–2009)
 * Yov "Hellblaster" – drums (1999–2002)
 * Damien "Toxik H." Guimard – guitar (2001–2009)
 * Jonathan "Azk.6" Boyer – drums (2002–2009)
 * I. Luciferia – guitar (2014–2015)

Discography

 * In Sperma Infernum (EP, Mordgrimm, 1998)
 * Dead Cunt Maniac (EP, Spikekult, 2000)
 * Hell Injection (CD, Osmose, 2001)
 * Filth Catalyst (CD, Osmose, 2003)
 * Arkhon Infaustus/Revenge (Split CD, Osmose, 2003)
 * Perdition Insanabilis (CD, Osmose, 2004)
 * Annunciation (EP, Osmose, 2007)
 * Orthodoxyn (CD, Osmose, 2007)
 * Passing The Nekromanteion (CD, LP, Les Acteurs De L'Ombre Productions, 2017)

title: Arkhon Infaustus


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Wang Shifu

Wang Shifu (1250-1337?), courtesy name of Wang Dexin, was a Chinese dramatist and playwright of the Yuan dynasty. He is a representative of “Wencaipai” (Literal talent group) in Chinese opera literature. He was born in Dadu (present-day Beijing), the capital of the Yuan dynasty. His ancestral home was in Hebei province, Baoding city. Wang was born into a noble family. His father was a general who worked for Genghis Khan. Under the impact of his elder generation, Wang started his officialdom career as a county official. He was then promoted to the investigating censor of Shanxi Province due to his brilliant talent and achievement. However, due to his characters and dispositions, he finally chose to escape from the officialdom and devoted himself to literature creation.

There are 14 plays attributed to Wang and only three are extant. The extant three are Romance of the Western Chamber, Li Chun Hall, and Po Yao Ji. His Romance of the Western Chamber (Xi Xiang Ji) is one of the most famous Chinese plays and is still popular today. It is an amplified zaju (雜劇/杂剧), a then-popular theatrical form.

Wang Shifu's writing features in depicting the emotional changes of characters euphemistically and delicately to shape the image of the characters. He also focused on the use of foreshadowing to make twists and turns in the plot in order to create unexpected dramatic effects and depict the complex reality in life.

Wang shifu also developed a brand-new writing format compared with the orthodox Yuan Dynasty zaju repertoire, which was a cycle of five linked pieces. From dramatizing and recomposing a love story already popular in the twelfth century and sharing plots with other zaju, Wang invented his own writing style. This angle of view after popular success suggested that Wang may have been an experienced professional in the first age of Chinese theatre.

title: Wang Shifu


text: User talk:84.9.107.220

title: User talk:84.9.107.220


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Aino Aalto

Aino Maria Marsio-Aalto (born Aino Maria Mandelin; 25 January 1894 – 13 January 1949) was a Finnish architect and a pioneer of Scandinavian design. She is known as the design partner of architect Alvar Aalto, with whom she worked for 25 years, and as a co-founder with him, Maire Gullichsen, and Nils-Gustav Hahl of the design company Artek, collaborating on many its most well-known designs. As Artek's first artistic director, her creative output spanned textiles, lamps, glassware, and buildings. Her work is in the permanent collection of the Museum of Modern Art (MoMA) in New York, and MoMA has included her work in nine exhibitions, the first of which was Aalto: Architecture and Furniture in 1938. Other major exhibitions were at the Barbican Art Gallery in London and Chelsea Space in London. Aino Aalto has been exhibited with Pablo Picasso.

Biography
Aino Mandelin was born in Helsinki. Her family lived in a co-operative apartment building in Helsinki where she was introduced to neighboring master carpenters and joiners whom she later apprenticed for. Aino completed her school education in 1913 at the Helsingin Suomalainen Tyttökoulu (Helsinki Finnish Girls' School). She began studies in architecture that same year at the Institute of Technology, Helsinki, and qualified as an architect in 1920. Aino graduated with a handful of other female architects including Salme Setälä. She also met her future husband, Alvar Aalto, when they were both students. In 1920 she went to work for architect Oiva Kallio in Helsinki. In 1923 she moved to the city of Jyväskylä to work in the office of architect Gunnar Achilles Wahlroos, but the following year switched to working in the office of Alvar Aalto. Mandelin married Alvar Aalto in 1925. The Aaltos spent their honeymoon in northern Italy. It was common at that time for young architects in Scandinavia to travel to Italy to study the vernacular architecture, which had a profound influence on Scandinavian architecture during the 1920s, flourishing in the so-called Nordic Classicism style.

The Aaltos moved their office to Turku in 1927, and started collaborating with architect Erik Bryggman. The office moved again in 1933 to Helsinki. The Aaltos designed and built a joint house-office (1935–36) for themselves in Munkkiniemi, a suburb of Helsinki, but later (1954–55) had a purpose-built office built in the same neighbourhood.

Aino Aalto's role in the design of the architecture attributed to Alvar Aalto has never been specifically verified. Their early built works were mostly small-scale buildings, especially summer villas, designed in the style of Nordic Classicism. Aino’s first project that was accredited entirely to her was Villa Flora (1926, extended 1938) the Aalto family's holiday home in Alajärvi, South Ostrobothnia, which expressed the efficiency of modernism and the simplicity of rural Finnish life. Aino was not completely on board with the ideologies of modernism spreading throughout Europe. Instead she designed homes for domesticity rather than an architectural ideology. She paid attention to the comfort level of a home and used materiality and furnishings to achieve a warm and practical space that was rare in 20th-century modernism.

It is known that in the design work she concentrated more on the design of interiors (such as the Villa Mairea in Noormarkku of 1937–39), but also furniture (such as the Paimio Sanatorium of 1927–29). In 1935 the Aaltos, together with Maire Gullichsen (chief client for the Villa Mairea) and Nils-Gustav Hahl, founded Artek, a firm selling lighting fixtures and furniture designed by the Aaltos. It has recently been discovered that it was Aino who completed the first interior design work commissioned through Artek, the Viipuri Library in 1936. Aino was the head designer of Artek and later became the managing director. Artek still produces Aalto furniture but is now owned by a private company. In the early years of Artek, furniture designs and standards were created and revised by Aino and of the hundreds of designs, only a few are by Alvar Aalto. She also oversaw commissions for interiors, lighting, screens, textiles and other household objects. Under Aino's leadership Artek completed more than eighty interiors. Aino was a versatile designer well before the inception of Artek. Her series of pressed glass objects was awarded a prize at the Milan Triennial in 1936. In the early years of their marriage and design partnership Aino Aalto and her husband would enter architectural competitions with their own separate entries. In the mid-1920s the Aaltos became the first architects in Finland to adopt the purified Functionalist style of architecture coming from central Europe. In Aino Aalto's own individual work this comes out in her entry for the Finnish pavilion for the 1939 New York World's Fair, the first prize for which was won by Alvar Aalto. Aino's work was always measured against the achievements of her husband and she often stood by while Alvar received recognition for their joint projects.

Aino Aalto also designed several glassware objects for the Finnish company Iittala, who made household objects. Her most famous glass design is still on sale, and slightly different copies made by companies such as IKEA are widespread. Aalto's "Bölgeblick" design serves as inspiration for a line of dinnerware produced by Iittala. She also collaborated with her husband on the design of the celebrated Savoy Vase in 1936.

Aalto worked in the Artek office until 1949, when she died of cancer. Aino set the tone for the Artek's creative and commercial approach which is still intact.

In 2004 an exhibition and book (edited by Ulla Kinnunen) was arranged at the Alvar Aalto Museum, Jyväskylä, Finland, featuring the life's work of Aino Aalto.

Exhibitions
2021 Design for Modern Life MoMA, New York, USA

2018 Modern Couples - Art, Intimacy and the Avant-garde Barbican Art Gallery London, United Kingdom

2017 Aino Aalto stars in the Children’s Scale exhibition Alvar Aalto Museum, Jyväskylä, Finland

2016/2017 ''How Should We Live? Propositions for the Modern Interior'' MoMA, New York, USA

2014 Nordic Art and Vintage Design Galerie Christian Roellin, St. Gallen, Switzerland

2013-2014 Designing Modern Women 1890–1990 MoMA, New York, USA

2009 INTO THE WOODS: An Exploration of itala Chelsea space London, United Kingdom

2006 ''Art & Technology. Moments in Artek history'' Alvar Aalto Museum Jyväskylä, Finland

2006 Artist’s Choice: Herzog & de Meuron, Perception Restrained MoMA, New York, USA

2004 Humble Masterpieces MoMA, New York, USA

2004 Solo Exhibition at Alvar Aalto Museum Jyväskylä, Finland

title: Aino Aalto


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Talk:Shelley Duvall

Shelly Duval Shining Star dead at 75, died July 11th 2024
Shelly Duval Shining Star dead at 75, died July 11th 2024 2001:569:5546:AF00:4053:FEF9:BD7C:B2EC (talk) 15:39, 11 July 2024 (UTC)

Shelley Duvall has passed.
07.11.24 Shelley Duvall has passed on due to compilations with diabetes. 2A01:E0A:31B:5CD0:E00C:472B:39AC:61B4 (talk) 21:50, 11 July 2024 (UTC)

Adding a reliable source around Shelley's treatment on The Shining set
There was a question of citing an unreliable source in the 1980s section when describing Shelley's treatment on The Shining set by its director. I found a fairly reliable source that should replace the current Express citation. It is here: https://www.today.com/popculture/movies/shelley-duvall-the-shining-rcna161391 Zxy2 (talk) 12:03, 12 July 2024 (UTC)

The article previously stated that Duvall's performance of Wendy Torrance was criticized for demeaning the character, but this was removed on June 5. It's the plain truth, and easily verified as such. Furthermore, the coverage this week has reiterated that it was Duvall's artistic choice to portray Wendy as a battered wife, which she believed offered a wider emotional range. Personally, I will add that it was a choice made in the time of second-wave feminism and its campaigns to bring attention and relief to victims of domestic violence. There's not a little irony in calling a portrayal of a woman "misogynistic" because she doesn't remain calm and composed while her husband menaces her with an axe. The Golden Raspberry Awards is a comedy event, and its style of "comedy" is sometimes embarrassing. It should not be relied on over journalism as a source for criticism of the film. 2601:642:4600:D3B0:F957:2BB0:729:9CD1 (talk) 15:43, 12 July 2024 (UTC)

Semi-protected edit request on 13 July 2024
Please remove the double-exposed Grauman's Chinese Theater image according to MOS:IMAGEQUALITY, "Poor-quality images should not be used unless absolutely necessary." 2601:642:4600:D3B0:F957:2BB0:729:9CD1 (talk) 00:56, 13 July 2024 (UTC)
 * ✅ - FlightTime Phone  ( open channel ) 15:03, 14 July 2024 (UTC)

Infobox image
Since Shelley has died and the infobox image is constantly being changed, let’s go ahead and vote on an image. I’ve pulled all the images from Wikimedia Commons that are probably qualified, unless anybody has any other suggestions.

Dancingtudorqueen (talk) 17:42, 13 July 2024 (UTC)

 * Option C Protegmatic (talk) 14:35, 14 July 2024 (UTC)
 * Out of these options, I would vote for Option C. PascalHD (talk) 22:16, 14 July 2024 (UTC)
 * Option C. --TDKR Chicago 101 (talk) 18:19, 18 July 2024 (UTC)
 * Another vote for C.— The Keymaster (talk) 10:12, 20 July 2024 (UTC)

title: Talk:Shelley Duvall


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CIAA

CIAA may refer to:

 * Cayman Islands Athletic Association, the governing body for the sport of athletics in the Cayman Islands
 * Central Intercollegiate Athletic Association, an NCAA Division II collegiate athletic conference
 * Confederation of the Food and Drink Industries of the EU, a European trade organization
 * Confederation of Indian Amateur Astronomer Association
 * Conference on Implementation and Application of Automata, an international academic conference in computer science
 * Cook Inlet Aquaculture Association, a non-profit organization promoting sustainable salmon fishing in Alaska
 * Office of the Coordinator of Inter-American Affairs, the U.S. government office led by the Coordinator of Inter-American Affairs
 * Comisión Investigadora de Accidentes de Aviación, Dominican Republic aviation accident investigation authority
 * Commission for the Investigation of Abuse of Authority, an apex constitutional body for corruption control for the Government of Nepal

title: CIAA