The Anglerfish Issue #5 - April 2013 by The Anglerfish

CONTENT

08 10

54$)*678%96*:$"%;<1=6: '16>4$)%?$<>4%@1%0$%;<:!*A

Reader Submissions

TFP – Thoughts from Places

TFP (cont.) & Advice

The Many Guises of Sherlock Holmes.

Elementary Vastly Proves Doubters Wrong.

A Study in Scarlet (and Other Classic Mysteries)

Sherlock & Moriarty: A Mind Game.

Magic the Gathering” & “Must Play Tabletop Games.

Fairy Tales: Hansel and the Beanstalk

Nostalgic Rerun

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Polarity #1 Review & Private Eye #1

Movie Club, part deux

The Road to Peace

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BEA 2013

PS the Internet

Unthinkable Humanity

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Reader Submissions 06#24>"%C)6:%D*<7$"

Thoughts From LeakyCon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y Eric Cole As I enter the theater and take my seat, I /**@).#*6'4).&)&1")$%&6.-*'A).'4)B)#"./%C")D6$&) how surreal it is. I am from a small town in Maine. Less than four thousand people live &1"#"A).'4).E*6&)&1")F*$&)";(%-'G)&1%'G)&1.&) happens to us is that a concert will come to *'")*+)&1")E%GG"#)(%-"$).#*6'4)6$H)B)+""/).$)%+)B) don’t belong here with all these people. I see I*1').'4)1%$)E#*&1"#A)J.'@A)$%K'G)D6$&)&1#"") #*L$)4*L')+#*F)F"H)B)/**@)&*)F0)/"M).'4)B) see YouTubers that I have admired for years, $6(1).$)51"),%2")?L"$*F")N%#/$A)$%K'G)D6$&) seats away. I take a deep breath, and steady my nerves when I hear a voice next to me. I turn, and stare. Neil Cicierega, the creator of !*8"#) !6<<"&) !./$A) $&.#"$) #%G1&) E.(@) .&) F"A) .)$F%/")*')1%$)+.("H)B)#"./%C")&1.&)F0)F*6&1) %$) 1.'G%'G) *<"') $/%G1&/0A) E6&) 1") D6$&) (*'-'‐ ues smiling. “What are you looking forward to seeing?” he asks me again, and somehow, &1#*6G1) &1") E6CC) %') F0) ".#$A) B) F.'.G") &*) hear him. B&) %$) .&) &1%$) F*F"'&) &1.&) B) #"./%C") $*F"‐ thing important., something that I think can E")/*$&)&*)$*F")&1#*6G1)&1")1.C")*+)%'&"#'"&) and actual fame. For two days, I had been &"##%3"4)&*)$<".@)&*)&1")O("/"E#%-"$P).#*6'4) me. Part of that is because of my naturally shy personality, a personality that, despite L1.&) $*F") (#%-($) $.0A) %$) <"#+"(&/0) ./#%G1&) &*) have. However, part of the reason, I know, is because I have built up these people to be on a pedestal. I am a small town man, and these .#") E%G) -F") <"*</"H) 51"$") .#") <"*</") L1*)

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are famous worldwide, and the thought that I not only have the right to talk to these peo‐ </"A)E6&)&1.&)&1"0)L*6/4).(&6.//0)"'D*0)&./@%'G) to me has never entered my mind before. Q*&) 6'-/) &1.&) F*F"'&H) 51"#") %$) $*F"&1%'G) in Neil’s voice as he speaks to me, and being .) +"//*L) '"#4A) B) #"(*G'%C") %&) %FF"4%.&"/0H) It is unbridled, uncontrollable excitement, and in that moment I learn something that some people around me had always known: despite their success, despite their fame, the O("/"E#%-"$P) .8"'4%'G) &1.&) (*'+"#"'(") .#") 3#$&).'4)+*#"F*$&)+.'$A).'4)L1"')&1"0).#").&) a conference such as LeakyCon, that is what they act like. R%&1) &1%$) #"./%C.-*') %') F%'4A) B) $F%/") back at Neil. A smile that soon turns into a +6//) S"4G"4) G#%'H) J") G#%'$) #%G1&) E.(@) .&) F"H) OT"3'%&"/0) 51") !#%'("U$) 5./"H) 51.&) L.$) F0) +.2*#%&")(1.<&"#)*+)&1")"'-#")$"#%"$HP)B)$.0)&*) him as he nods in approval. “Are you a Snape fan?” he asks me with a hint of curiosity, and %').)F*F"'&)*+)E#%//%.'(")&1.&)B)$-//)(.')'*&) fathom, I answer with an “Always”. He chuck‐ les at my response, and for a few seconds we $F%/").&)".(1)*&1"#A)D6$&)&L*)+.'$)/**@%'G)+*#‐ ward to seeing something that we know we will both love, and then he nods his head at me, and turns back to his girlfriend who sits on his other side. 51") #"$&) *+) &1") (*'+"#"'(") (*'-'6"$) %') .) 1.C"H) B&) %$) .F.C%'G) 1*L) &1") 16F.') E#.%') L*#@$A)*#)<"#1.<$)%&)%$)D6$&)F0)E#.%'A)E6&)+*#) me, my memories are not gathered by images

Despite their success, de their fame, the “celebrit !"#$%#&'!()!'*+#,"-"#*"')-"'. foremost fans, and when they conference such as LeakyCon that is what they act like. and thoughts. My memories are determined E0)+""/%'G$A).'4).$)&1.&)3#$&)(*'+"#"'(")"'4$A) B)#"./%C")&1.&)&1%$)%$).')";<"#%"'(")&1.&)B)L%//) never forget for as long as I live, not because of the famous people I met, or the things I did or saw that weekend, but because of &1")+""/%'G$)B)+"/&H)B)#"./%C")&1.&A)+*#)6$)'"#4$A) there are few places in this world where we can feel welcome and accepted, but for me, LeakyCon will always be one of those places. V0)&1")-F")&1.&)L""@"'4)"'4"4A)B)1.4)#"./‐ %C"4)&1.&)=".@0W*')%$)F0)1*F"H

espite ties” at .-/!')#$' are at a n,

Advice If you’re at all unsure, talking to your boyfriend about it is probably a good idea. Tell him where you’re coming +#*FA)3'4)*6&)1%$)&1*6G1&$)*')%&A).'4) then come to a conclusion together.

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011

Reader Submissions '=N!7$

By Cecily Dreyfuss Dear Cecily, My boyfriend is vegetarian and I am not (he decided to become vegetarian because of moral and ethical reasons, not for any !"#$%&$'(#)*+('$,-$#.-/0'1!' it wrong of me to eat meat in front of him even though he doesn’t approve of it? -Emily

Dear Emily, No, I don’t think it’s wrong to eat meat in front of him. I think that #"/.-*'$1%<$)(.')E")/.#G"/0)E.$"4) in understanding one another. You eat meat and you don’t expect your boyfriend to drop his ideology simply because you do. Similarly, he most likely does not expect you to stop ".-'G)F".&)E"(.6$")1")4*"$'U&H)Q*L) while on the one hand, I don’t think you should be going out of your way &*)*#4"#)&1")F".-"$&)&1%'G$)*')&1") menu, I don’t believe that there is anything fundamentally wrong with ".-'G)F".&)%')+#*'&)*+)0*6#)E*0+#%"'4H) ?M"#).//A)%+)1")1.4).)<#*E/"F)L%&1)%&A) I’m sure he’d have said so at this point.

If you enjoy what you do, you never work a day in your life.

Dear Anonymous,

=*'G)4%$&.'(")(.')4"3'%&"/0)<6&).) $&#.%')*')#"/.-*'$1%<$[)"2"#0&1%'G) $""F$)$*)4%\"#"'&)$%'(")0*6).#") hardly able to see someone you’re so accustomed to seeing. However, today’s society is one of social media Dear Cecily, .'4)2%#&6./)1.'G*6&$A)"/%F%'.-'G) 123'$4..#-+*5'%-'35'&.!+'5#).' much of the cause for worry. Just at university, and we have because your friend is moving does to sign up for next year’s not mean that you’ll be unable to see $*)!!#!'!,,-0'6(%!'()!'3)7#' 1"#H)X*6)&L*)(.')$(1"46/")-F"$)&*) me realize that I have no video chat, and when you can’t do idea what I want to do that, the two of you can talk on the with my life and I’m a bit <1*'")*#)"2"')&";&)".(1)*&1"#H)B)3'4) +#..%&#70'8()+'!(,4*7'1'7,9 &1.&)$*F"-F"$)"2"').)1.'4L#%8"') !"#$%& /"8"#)&*)".(1)*&1"#)(.')F.@")&1")&L*) *+)0*6)+""/)(/*$"#)"F*-*'.//0A)"2"')%+) Dear Thomas, you’re not as physically close as you used to be. The important thing is to B)&1%'@)&1")3#$&)&1%'G)&1.&)'""4$)&*)E") establish the understanding between $.%4)%$)4*'U&)<.'%(H)7*$&)6'%2"#$%-"$) the two of you that you don’t want G%2")$&64"'&$)6'-/)&1")"'4)*+)&1"%#) to let the friendship slip away, and sophomore year to declare their &1.&)0*6)&.@")&1")-F")&*)F.%'&.%') F.D*#$A).'4)$*F"-F"$)"2"')/.&"#) %&H)>*F"-F"$)0*6)F%G1&)E")&**)E6$0) &1.')&1.&H)X*6)1.2")-F"A)E6&)L1.&)B) to consistently communicate, or you 3#$&)$6GG"$&)&*)4*)%$)&.@").)$&"<)E.(@H) might even forget, but if you go into it Think of the classes that you have knowing that both of you want to stay ./#".40)E""')&.@%'G).'4)'*-(").'0) in contact, then life won’t get in the links that they have. If they have a way as much. link, you might have found your focus. B+)&1"#"U$)'*)(*''"(-*').'4)0*6U2") $%F</0)E""')3//%'G)#"Y6%#"F"'&$A)&1"') think of what classes you’ve ever taken, and think of what you most Do you have an issue or "'D*0)4*%'GH)5#0)&*)<6#$6")$*F"&1%'G) question you could use 0*6)&#6/0)"'D*0)4*%'GH)?$)&1"0)$.0Z) some advice on? B+)0*6)"'D*0)L1.&)0*6)4*A)0*6)'"2"#) work a day in your life. Also, if your Send an email with your conun‐ 6'%2"#$%&0)1.$)G"'"#./)#"Y6%#"F"'&$A) 4#6F)&*)&1".'G/"#3$1F.G.C%'"] you can try and get those out of the GF.%/H(*F)L%&1)&1")$6ED"(&)-&/") way as soon as possible. That way, ‘advice’. Our advice‐giver Cecily will *'(")0*6)4*)3G6#")*6&)L1.&)0*6)L.'&) take a look and perhaps you’ll get to study, you’ll be able to devote all an anwser in the next issue of The 0*6#)-F")&*)%&H ?'G/"#3$1^

Dear Cecily, My friend is moving away in a few months and I don’t :-,;';()+'+,'7,0'<(#2!'35' best friend and I’m really =,%-='+,'3%!!'(#.0'>,;'7,' I stay close friends with her even if she’s so far away? -Anonymous

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Entertainment 54$)*678%;<1=6:

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AB')**'+(#'>,*3#!%)-')7)"+)+%,-!C'(,;' did the sixepisode BBC television series spark one of the largest fandoms on the internet?

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5!17$%5!)%')>4#)%Y61<1%?6A*$Z"%16N$*"%<I6#>%>4$%!761!7% =$>$7>!N$%H$)$%(#I*!"4$=%I$>H$$1%-[[X%<1=%>4$%*<>$%-\+,"F% >4$%H6)8"%4<N$%I$$1%<=<(>$=%!1>6%>$1"%6C%>46#"<1="%6C% 3*:"F%76:!7"F%"><2$%()6=#7>!61"F%)<=!6%(*<A"F%>$*$N!"!61% "46H"F%<1=%$N$1%<%76#(*$%6C%I6<)=%2<:$"G There are only two seasons of the BBC television show ‘Sherlock’, containing three episodes each ‐ a total of 540 min‐ utes, released over the past three years with a sixteen month break between the first and second series, and a fourteen‐month‐ and‐counting‐wait between the end of the second series and the highly anticipated premiere of the third. How then does such a series command a legion of fans comparable to the decade old fandom of ‘Supernatural’ and even the ancient order of Whovians? Not that the fan‐ doms don’t overlap check out the Superwholock tag on tum‐ blr if you don’t believe me. Author and self‐described Holmesian loremaster M. R. Graham remarks: “It's always hard to say why certain things become so popular, but I think the huge fangirl phenomenon is <.#&/0)E"(.6$")&1")$"K'G)F.@"$) Holmes suddenly more acces‐ $%E/"H)51")_%(&*#%.')."$&1"-()1.$) its own appeal, but a modern J*/F"$)1.$)&1")<*&"'-./)&*)E")#"./A)(6##"'&A).'4)*'/0)1./+).)L*#/4) .L.0)`*#)D6$&).)&#.%')#%4").L.0A)4"<"'4%'G)*')0*6#)/*(.-*'aHP She also cites social media as a huge factor in the series’ popularity b)'*&)D6$&).L.#"'"$$)$<#".4)E0)+.'$A)E6&)E0)(#%-($)*+)&1")$"#%"$H)B')&1") same way that half the ‘Twilight’‐inspired content on the internet was created by people who abhor the series, new viewers are drawn in by curiosity at the complaints of the “diehard Holmesians” and whatever #"F'.'&)*+)56FE/#)(.'U&)$&.'4)&1")S**4$)*+)G%+$A)%'";</%(.E/")+.'.#&$A) .'4)(*F</.%'&$)*+)";</*4"4)*2.#%"$)&1.&)S**4)&1"%#)4.$1"$H The six episodes follow the adventures of John Watson, a doc‐ &*#) #"("'&/0) #"-#"4) +#*F) &1") .#F0A) .'4) 1%$) '"L) S.&F.&") >1"#/*(@) J*/F"$A) L1*) %'2"'&"4) &1") *((6<.-*') *+) (*'$6/-'G) 4"&"(-2") .'4) has become indispensable to Scotland Yard in solving various unusual cases. There are episodes based on Conan Doyle’s stories A Study in Scarlet, A Scandal in Bohemia, The Hound of the Baskervilles, and The Final Problem, with two episodes loosely based on components of other Holmes short stories. 51%$)2"#$%*')*+)J*/F"$)"F<1.$%C"$)&1")<.#&$)*+)1%$)<"#$*'./%&0)&1.&) 4*'U&)Y6%&")F.&(1)&1")'*#F)b)#.&1"#)&1.')E"%'G)%').L")*+)1%FA)F*$&) *+)&1")<"*</")&1.&)L*#@)L%&1)1%F).#")<6&)*\)E0)1%$).E#.$%2")'.&6#") .'4) /.(@) *+) "F<.&10H) J") %$A) %') 1%$) *L') L*#4$A) .) O1%G1b+6'(-*'%'G)

$*(%*<.&1P)L1*)*M"')(*FF"'&$)`/*64/0a)*')&1")%'+"#%*#)%'&"//"(&$)*+) &1*$") .#*6'4) 1%FA) .'4) %$) (*'+*6'4"4) E0) $6(1) &1%'G$) .$) &1") /.$-'G) pain of losing a loved one ten years on. Benedict Cumberbatch plays Sherlock in a way that allows the audience to see something loveable %') 1%F) L1%/") $-//) #"(*G'%C%'G) 1%$) $1*#&(*F%'G$H) 51%$) 4"<%(-*') F.0) also help make the iconic character relatable ‐ he is a genius but not infallible. Sherlock’s human moments are shown to us, as in most adapta‐ -*'$A) &1#*6G1) &1") F"4%6F) *+) I*1') R.&$*'A) </.0"4) %') &1%$) 2"#$%*') E0)7.#-'),#""F.'H)51*6G1)*M"').$)E.c"4)E0)>1"#/*(@U$)Y6%#@$).$) "2"#0*'")"/$"A)I*1')%$).E/")'*&)*'/0)&*)$"")>1"#/*(@U$)G**4)%'&"'-*'$) E"'".&1) &1") $""F%'G/0) (.//*6$) ";&"#%*#A) E6&) ./$*) %$) <.-"'&) "'*6G1) `F*$&)-F"$a)&*)";</.%')&*)>1"#/*(@)&1")L10).'4)L1"#"+*#")*+)&1*$") &1%'G$) 1") 4*"$) '*&) 6'4"#$&.'4H) ) B') &1%$) F*4"#') .4.<&.-*'A) I*1') keeps a record of their adven‐ tures by blogging about them. Sherlock is somewhat derisive .E*6&) &1%$) <#.(-(") .&) 3#$&A) E6&) is increasingly annoyed at the blog’s popularity. In A Scandal in Belgravia, Sherlock complains &1.&)I*1')%$)L#%-'G).E*6&).)(.$") that went unsolved. “People want to know that you’re human.” John insists, a slight smile on his face as Sherlock bursts out with an exasperated “WHY are they?” The state of the internet being what it is, it was inevitable that &1")>1"#/*(@dI*1')$1%<)`*#)I*1'/*(@A).$)%&)%$)$*F"-F"$)@'*L'a)L*6/4) become incredibly popular. Sherlock’s team of writers not‐so‐subtly encourage this with incidences of John being mistaken for Sherlock’s 4.&"A) F%$%'&"#<#"&.-*'$) *+) &1") &"#F) O<.#&'"#PA) .'4) *&1"#) (1.#.(‐ &"#U$)(*FF"'&$)*')&1")<.%#U$)4"2*-*')&*)".(1)*&1"#H)51")+#%"'4$1%<) between Holmes and Watson has always been an iconic one ‐ a nudge towards comedic misunderstanding is all a fan really needs to write a gif‐laden love story. Ask some of the fans what makes the show worth watching or L1.&)F.4")&1"F)+.'$).'4)0*6U//)G"&)F.'0)4%\"#"'&).'$L"#$Z)&1")E#%/‐ /%.'(")*+)&1").(&*#$A)&1")L"//b#"$".#(1"4).'4)L"//b";"(6&"4)L#%-'GA) &1") 6'";<"(&"4) 16F*#A) &1") L.0$) %&) $-(@$) L%&1) &1") *#%G%'./) $&*#%"$A) &1")(#".-2")(%'"F.&*G#.<10A).'4)$*)*'H)R1.&"2"#)%&)%$)&1.&)&1"0)+""/) F.@"$)&1%$).4.<&.-*')$&.'4)*6&)+#*F)%&$)+"//*L$A)>1"#/*(@U$)+.'4*F) is a force to be reckoned with. ?'4) E0) O+*#(") &*) E") #"(@*'"4) L%&1PA) B) F".') &1"0U#") .'G$-'G) .//) over your Tumblr dashboard, desperately hanging on to every tweet #"/.&"4)&*)$"#%"$)eA).'4)$*F"1*L)$-//)E"%'G)%'$<%#"4)&*)(#".&")(*'‐ tent based on these six episodes ‐ including yet another wrong take *')W6FE"#4%(&)V"'4"#$'.&(1U$)'.F")&1.&)%$)>5B==)1%/.#%*6$)'*)F.8"#) 1*L)F.'0)-F"$)B)$"")%&H

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Entertainment 54$)*678%;<1=6:

The Many Guises of <(#.*,$:'>,*3#! 54$)*678%96*:$"%!"%816H1%>6%I$%<%:<">$)%6C%=!"2#!"$G%]6)$%>4<1%[,% A$<)"%<^$)%>4$%=$<>4%6C%4!"%7)$<>6)F%4!"%C<7$%!"%">!**%74<12!12G 2,3*8.79*'%,)#1 ‘The Adventures of Sherlock Holmes’ (1939) Although he’s probably the most iconic in the role, Basil Rathbone as Sherlock Holmes may not have originated many of the stereotypical aspects of Holmes’ (1.#.(&"#A)E6&)1")1"/<"4)&*)$*/%4%+0)&1"FH)J")F.4")&1")Y6*&")O:/"F"'&.#0A)F0) dear Watson,” famous and donned the cape and deerstalker established by >%4'"0)!.G"&U$)%//6$&#.-*'$H

‘House, M.D.’ (2004 2012) 51")6'(*'2"'-*'./)E6&)"\"(-2")4"46(-2")$@%//$)*+)T#H)N#"G*#0)J*6$")1*/4).) striking resemblance to those of Mr. Holmes. Coincidence can be tossed out the window, due to Doyle and Holmes references, along with the blatant fact that House resides at 221B Baker Street.

Guy Ritchie’s ‘Sherlock Holmes’ (2009 and 2011) R1"')B)$.L)&1")&#.%/"#)+*#)&1")3/F)$&.##%'G)f*E"#&)T*L'"0)I#HA)B)@'"L)'";&)&*) '*&1%'G).E*6&)>1"#/*(@)J*/F"$A)E6&)B)L.$)$@"<-(./)&1.&)&1")3$&bS%'G%'GA)L%'4*Lb 4%2%'GA)1%G1/0)";</*$%2")S%(@)L*6/4).<<".$").64%"'("$H)51.&)$.%4A)&1")E#*F.'-(A) Y6%#@0A).4#"'./%'"b<.(@"4)#*F<)L.$)L%4"/0)L"//)#"("%2"4H

BBC’s ‘Sherlock’ (2010 present) This modern‐day Holmes has a website and prefers to text. Each feature‐length "<%$*4")%$)4"#%2"4)+#*F)*'")*+)T*0/"U$)&./"$)E6&)&.@"$)F.'0).')%'2"'-2")4"&*6#) +#*F) &1") *#%G%'./) </*&H) W*b(#".&*#) >&"2"') 7*\.&) 1.$) /%@"'"4) &1") $"#%"$) &*) +.') 3(-*'H 51"#")1.2")E""')F.'0).4.<&.-*'$)*+)>1"#/*(@)J*/F"$)b)*')3/FA)&"/"2%$%*'A) the stage, and in books ‐ and many writers, actors, and illustrators have taken their own spin on his character. Sherlock has been a mouse, a teen, and a mod‐ "#'b4.0)S.L"4)+"//*L)%')QXWH):.(1)*+)&1"$").4.<&.-*'$).((*F</%$1)&L*)&1%'G$Z) They keep the interest in Sherlock Holmes alive and eschew the original character .$)1")L.$)L#%8"')E0)T*0/"H Yes, Sherlock Holmes has taken on so many guises over the decades that it has E"(*F") 6'(/".#) L1*) &1") F.') #".//0) %$H) J") 1.4) "2*/2"4) %'&*) $*) F.'0) 4%\"#"'&) personas that we must ask ourselves, ‘What makes Sherlock Holmes?’ g'")&1%'G)%$)(/".#A)&1")4"&"(-2")%$)'*L1"#")'".#)&1")("#&.%')4".&1)T*0/")*'(") intended for him. His fans simply won’t allow it.

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Entertainment 54$)*678%;<1=6:

‘Elementary’ Vastly D.,E#!'F,4G+#.!'8.,-= 2,*:5&%*;)#< WV>U$) '"L) F*4"#') .4.<&.-*') *+) >%#) ?#&16#) Conan Doyle’s Sherlock Holmes, ‘Elementary’, $&.#&"4) L%&1) (*'S%(&H) ) 7.'0) *+) VVWU$) ‘Sherlock’ fans accused the show of copying h>1"#/*(@U) .'4) #6%'%'G) &1") /"G.(0) E0) $"K'G) the show in America and making Watson a woman. Aside from how ridiculous these arguments against ‘Elementary’ are, the rest of the fandom responded with outrage &*L.#4$) &1") D64GF"'&./) G#*6<H) ) V*&1) $%4"$) became locked in a ridiculous argument. Q*LA) '".#/0) .) 0".#) /.&"#A) &1") $-GF.) &1%$) argument brought should be cast aside in order for the show’s content to speak for its own merit. Those who are willing to give ‘Elementary’ a chance are bound to discover &1.&)&1%$).4.<&.-*')%$).F.C%'GH Jonny Lee Miller (Sherlock) and Lucy Liu (Joan Watson) carry the show. Their (1.#.(&"#%C.-*'$) .'4) 40'.F%($) .#") wonderful. Sherlock acts superior to e v e r y o n e else, but it is

evident t h a t he has a human side, providing a balanced p e rs p e c t i ve of the

character. This portrayal of the legendary /%&"#.#0) 3G6#") 1*/4$) &#6") &*) W*'.') T*0/"U$) /"$$) %##"2"#"'&) <"#$<"(-2") *+) &1") (1.#.(&"#H)) Along with this, the details of the show demonstrate how much the writers care about the original stories, such as Sherlock’s 6$")*+)$-(@)3G1-'G)*2"#)+"'(%'G).'4)1%$)E"") obsession, all of which add to the depth of >1"#/*(@U$)(1.#.(&"#%C.-*'H Joan Watson also proves herself as the perfect Watson. Throughout the series, Joan has grown so much as a character. She started out unsure of her life, but by providing actual help to Sherlock, rather than D6$&)E"%'G)$*F"*'")&*)&"//)1%F)1"U$)E#%//%.'&A) Sherlock helps Joan discover her true <.$$%*'$H) ) J"#) "2*/6-*') %$) .F.C%'GH) ) R1%/") she helped Sherlock from the beginning, <#*2%'G)&1")%F<*#&.'(")*+)&1"%#)#"/.-*'$1%<) E*&1) <#*+"$$%*'.//0) .'4) "F*-*'.//0A) Sherlock contributes to her growth as well. ?/$*A)I*.')$"#2"$).$).').F.C%'G)+"F./")#*/") model. She does not need Sherlock, but they 1.2") .) F6&6.//0) E"'"3(%./) #"/.-*'$1%<) .'4) +#%"'4$1%<A) 4"F*'$&#.-'G) &1.&) F./"$) .'4) +"F./"$) (.') E") %') .) <*$%-2") #"/.-*'$1%<) without a sexual aspect, countering what media tends to portray. Joan is also Asian‐ American, which adds another layer of depth that isn’t as represented or present in most shows. As if the characters were not perfect (as %') <"#+"(&/0) S.L"4) .'4) <"#+"(&/0) 16F.'a) "'*6G1A)&1")(.$&)%$)#*6'4"4)*6&)E0).F.C%'G) side characters. Marcus Bell (Jon Michael J%//aA) .) 4"&"(-2") +*#) &1") QX!TA) (*'$%$&"'&/0) 4"F*'$&#.&"$)1%$)%F<*#&.'("H))T"&"(-2")V"//) and Captain Gregson (Aidan Quinn) act as more than foils to Sherlock’s genius. Rather, their intellect, like Joan’s, proves important &*)".(1)(.$"A).'4)V"//)1.$).')%'&"#"$-'G)$%4") story. Even the extremely minor protagonists enrich the story, such as Sherlock’s sponsor for his sobriety, Alfredo Llamosa (Ato Essendoh), and Pam (Becky Ann Baker), the adventure‐ready snowplow driver. Recently, the show introduced their version of the beloved Mrs. Hudson, known as Ms. Hudson (Candis Cayne) in the show. Ms. Hudson’s plot focused on her G"K'G)*6&)*+).)E.4)#"/.-*'$1%<H))>1") demonstrates her strength by leaving &1%$)#"/.-*'$1%<)*')1"#)*L').((*#4).'4) .$@%'G) >1"#/*(@) +*#) 1"/<H) ) T%4) B) F"'-*')

that she is transgender? No, because the $1*L) *'/0) F"'-*'$) %&) *'(") %') <.$$%'GH)) Played by a transgender actress, Ms. Hudson #"<#"$"'&$) .) <*<6/.-*') L1*) '""4) .'4) /.(@) characters to look up to. The media is extremely ideological. 7*$&) 4*) '*&) '*-(") 1*L) %&) "'+*#("$) $*(%./) (*'$&#6(&$) 4%(&.-'G) G"'4"#) .'4) #.(%./) <"#("<-*'$H))J*L"2"#A)h:/"F"'&.#0U).&)/".$&) tries to stand up against that. It gives viewers role models of many races and genders as L"//) .$) <#*F*-'G) 1"./&10) +#%"'4$1%<$H) ) 51") </*&$)F.0)'*&)E").$)4#.F.-()*#)%'&#%(.&").$) &1*$") *+) h>1"#/*(@UA) E6&) &1"0) .#") (.<-2.-'G) .'4) &1") .8#%E6&"$) F*#") &1.') F.@") 6<) +*#) &1%$) /.(@H) ) ?//) %') .//A) B) 1".#-/0) #"(*FF"'4) Elementary and highly suggest that all Sherlock fans, even purists, give it a go.

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Another Death In The Family _A%]$*!""<RJA11%9$!1$:<1

`0$%!=$<%6C%<%74!*=%7)!:$% 324>$)%!"%)!=!7#*6#"a%!>%)#!1"%>4$% 2)!OA%)$<*!":%6C%<%:<1%=)$""$=%<"% <%I<>%H46%324>"%7)!:$Gb%c`K6I!1% 5#78"bF%96*A%]#"!7<*%_d:<1ef Robin the Boy Wonder debuted in April ijkl) %') %$$6") men) *+) hT"&"(-2") W*F%($UA) .) 0".#).M"#)V.&F.')L.$)3#$&)%'&#*46("4)%')&1") $.F") <6E/%(.-*'H) V%//) ,%'G"#A) &1") (*b(#".&*#) and writer, describes the reasoning to intro‐ duce a sidekick to Batman as “Holmes had his Watson.” Robin since has become a cult favorite, and Batman and Robin are known $%F6/&.'"*6$/0H) >%'(") 1%$) %'("<-*'A) L") (.') /%$&)32")f*E%'$)L1*)1.2")</.0"4).)2%&./)#*/")%') the life of our (main) Batman, Bruce Wayne. B&) %$) %'&"#"$-'G) &*) $"") $*F") *+) &1") .#G6‐ ments against Robin, as people have seen this as an irresponsible way in which Bruce Wayne has endangered the lives of children. To their defense, we have had the infamous death of Jason Todd, the second Robin, to stand by this statement, and very recently, &1")4".&1)*+)T.F%.')R.0'"A)&1")3M1)f*E%') (technically sixth, if you count Carrie Kelly) and Bruce’s biological son. The body bags and body casts we’ve found Batman’s mentees in over the years have lead to the argument that Bruce is a terrible father. T%(@)N#.0$*'A)&1")3#$&)f*E%'A)L.$)<.#&)*+) a family of acrobats. He would then be taken %') E0) V#6(") R.0'"A) .$) &1"0) "F<.&1%C") L%&1) one another over the death of their parents, Dick’s from a mob boss and Bruce’s from a F6GG"#HH)J")%'%-.//0)E"(*F"$)f*E%')&*).2"'G") 1%$)<.#"'&$A)E6&)#"./%C"$)V#6("U$)1%G1"#)(.6$") .'4) &1.&) #"2"'G") L*6/4) '*&) Y6"'(1) 1%$) <.%'H) J") L*6/4) 3G1&) ./*'G$%4") V#6("A) .'4) later become the leader of the Teen Titans. He matures and moves on to be Nightwing E"+*#")E#%"S0)&.@%'G)6<)&1")V.&F.')F.'&/"H) While his run as Robin was decent, it is inter‐ "$-'G) $"") &1.&) %') &1") #"E**&A) ,#.'@) 7%//"#U$) ‘Batman & Robin The Boy Wonder’ Vol. 1, .M"#) &1") N#.0$*'$) 4%"A) V.&F.') &"(1'%(.//0) @%4'.<$)T%(@A)&.@%'G)1%F)*').)&"##*#%C%'G).'4) &#.6F.-C%'G)D*0#%4")L1%/")E"%'G)<6#$6"4)E0) the police.

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I.$*') 5*44A) .$) F"'-*'"4) .E*2"A) 1.4) an unfortunate run as Robin. In his original %'&#*46(-*')1"U4)E")%'&#*46("4)%').')./F*$&) %4"'-(./)$"K'G).$)T%(@A)&1.&)*+).)*#<1.'"4) .(#*E.&A)E6&)&1")#"E**&)3'4$)1%F).$).)&#*6‐ bled street orphan who tries to steal the Batmobile’s wheels. Of the Robins, he’d be the most angry and violent, hence the ‘trou‐ bled’. He would later be kidnapped by the I*@"#A)E".&"')L%&1).)(#*LE.#A).'4)/"M)L%&1).) 4"&*'.-'G) E*FE) %') .) L.#"1*6$") `hV.&F.'Z) A Death in the Family’, 1988). All in all, not as heartwarming as Dick’s story. However, in ollpU$)Oq'4"#)&1")J**4P)$&*#0).#()L")3'4).) resurrected Jason who’d become the second f"4)J**4A)&1")3#$&)1.2%'G)E""')&1")I*@"#A).) $6E&/")%#*'0H)?$).').'-1"#*)L1*)'*L)#"$"'&$) V#6(").'4)T%(@A)1")D*%'$)+*#("$)L%&1)>&.#3#") and Arsenal (Roy Harper of ‘Green Arrow’) in the series ‘Red Hood and the Outlaws’. Of the male Robins, least tragic would E") &1") &1%#4A) &"(1b$.220) .'4) 4"46(-2") 5%F) Drake. He is one of the most nostalgic rep‐ #"$"'&.-*'$A) $&.##%'G) %') h5""') 5%&.'$UA) E*&1) the show and the comics, as leader and best friend to Superboy and Wonder Girl. He was introduced as spectator of the Flying Graysons, with a momentary bond with Dick, and hailing from the same social class .$)V#6("H)J"U4)4%$(*2"#)V.&F.').'4)&1")3#$&) f*E%'U$) %4"'--"$) 46") &*) #"(*G'%C%'G) T%(@U$) .(#*E.-()$&6'&$A).'4)&1"')D*%')&1")&".F).M"#) Jason’s death which was followed by his own mother’s demise and father’s crippling. He’d be rebooted as Red Robin, remaining part of the Bat‐family but gaining independence and new alliances including Stephanie Brown’s Batgirl, Tam Fox, and the Outsiders, whom he’d come to lead. His non‐tragic story can be challenged however, especially with the “Return of the Joker” line, in which he is tor‐ tured to insanity and brainwashing by the Joker and Harley Quinn. Stephanie Brown is actually the second female Robin, but canonically remembered .$)&1")+*6#&1A).$)W.##%")r"//0U$)-F").$)f*E%') L.$) Y6%&") $1*#&) /%2"4H) >&"<1) .(&6.//0) *#%G%‐ nated in 1992 as the daughter of the villain Cluemaster. She denied her crime‐princess -&/") E0) E"(*F%'G) .F.&"6#b1"#*) ><*%/"#) .'4) allying with Tim’s Robin. Going along with

Entertainment _<>:<1%;<1=6: Later On... =$%>.&*?7#@9A.A*+,*8%)*B%,5#7

that, not only was she almost raped as a child, but she also dealt with teen pregnancy, .'4)L.$)&*#&6#"4)E0)V/.(@)7.$@A)L1%(1)6/-‐ F.&"/0) /"4) &*) 1"#) 4".&1H) ) ?&) &1.&) -F"A) $1") was serving as Robin while Tim was serving as Red Robin. It is later revealed that her death was faked when she surfaces once again as Spoiler and then becomes Batgirl, mentored by Oracle, the now wheelchair‐ ridden Barbara Gordon, and partners with Dick’s Batman and Damian’s Robin. The last of the Robins was Damien Wayne, %'&#*46("4) *s(%.//0) %') ollt) %') hV.&F.'U) #655. Snarky, and mainly described with pro‐ +.'").4D"(-2"$A)1")%$A)%')&1")$%F</"$&)&"#F$A).) demon child. This is backed up by his family. While his father is Bruce Wayne, his mother is Talia al Ghul, making his grandfather Ra’s al Ghul, making him the heir to the League of Shadows. Like Cassandra Cain, a future Batgirl, he was raised from birth to be a kill‐ ing machine, something he must repress as he turns his back from his mother when $1") .8"F<&$) &*) $.(#%3(") 1%F) &*) #"$6##"(&) 1"#) +.&1"#) .'4) D*%'$) 1%$) +.&1"#) %') 2%G%/.'&"b %$FH):.#/0)%'&*)1%$)-F").$)f*E%'A)V#6(")4%"$) and the mantle of Batman is taken up by Dick. Damien is partnered with him, along L%&1)5%F).'4)>&"<1A)&1")/.8"#)&L*)L1*F)1") taunts and constantly verbally tortures. He L*6/4)/.&"#)D*%')&1")5""')5%&.'$A)F6(1)&*)1%$) teammates’ dismay. Despite his rough and #64") ";&"#%*#A) 1") 4%$</.0$) .\"(-*') +*#) 1%$) family, adopted and not, at rare occasions, and has shown to have a crush on Supergirl. He even eventually rescues his father and 4"+".&$)&1")=".G6")*+)>1.4*L$)%')%&$)"'-#"&0H) However, his young life ended recently in the eighth issue of ‘Batman Inc.’ when his spine is

$'.<<"4)E0)J"#"-(A).').46/&)(/*'"H ?$) 0*6) (.') $""A) &1"#") 1.$) E""') $6\"#%'G) amongst the Robins, and overall the Bat‐ family, without even delving into the Batgirl $%4")*+)&1")"Y6.-*'H)51")Y6"$-*')#"F.%'$Z) is Batman a poor father? To be totally honest, I don’t think I can totally blame him. In many cases, the Robins had come to be who they are through their own desires and pushing, and they did understand the repercussions. Yes, Bruce could’ve gone to greater lengths to disallow them from following his path, but he probably didn’t, as he saw some aspect of his younger damaged self in them. His bad <.#"'-'G) F.0) E") F*$&/0) &*) E/.F") +*#) 1%$) own highly disturbed psychosis, but I digress. The Robins have truly aided in the growth of V.&F.'A)$%F%/.#)&*)1*L)J.##0)!*8"#U$)+#%"'4$) and allies build upon Harry. Nowadays, the Robins are as much Batman as he is himself. In the words of Grant Morrison: “He saves &1")L*#/4H)J")4*"$)1%$)D*E).$)f*E%'H)J")4%"$) an absolute hero.” R.I.P. Damien Wayne, and B) 1*<") +*#) 0*6#) <*$$%E/") #"$6##"(-*') *#) &1") emergence of another Robin to enter the fold.

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Entertainment _668%K$N!$H"

A Study in Scarlet H)-7'A+(#.'I*)!!%$'J5!+#.%#!/ @C%#(61%"$$!12%>4$%>4$:$%C6)%>4!"%:61>4Z"%!""#$%A6#% >46#24>%H$%H6#*=1Z>%:!*8%>4$%=$>$7>!N$%>4$:$%C6)%<**% !>Z"%H6)>4F%A6#%H$)$%"6)$*A%:!"><8$1G%%_#>%!>Z"%<**%266=% !C%16H%H$%2$>%>6%><*8%<I6#>%H4<>%:<8$"%>4$"$%I668"%"6% *$2$1=<)AF%)!24>g _AP%]<)!""<%h!*8" A Study in Scarlet is only one in a lengthy line of stories (four novels .'4).)</"&1*#.)*+)$1*#&)$&*#%"$a).E*6&)*'")*+)&1")F*$&)%(*'%()3(-*'./) 4"&"(-2"$)*+).//)-F"H B')W*'.')T*0/"U$)3#$&)J*/F"$)&./"A)L").#")%'&#*46("4)&*)*6#) hero through the tales recounted in Dr. John Watson’s diary. It is here we are introduced to the murder of a Mr. Drebber, the undertakings of Scotland Yard’s incompetent Mr. Gregson and Mr. Lestrade, and how Watson and Holmes "2"') E"(.F") .(Y6.%'&"4) %') &1") 3#$&) place. As it happens, there was a mur‐ der, and it’s up to our favorite hero to untangle the thread of events. It’s important to keep in mind that you shouldn’t set out to read &1%$) E**@) ";<"(-'G) &1*#*6G1) character development. That’s D6$&)'*&)L1.&)&1%$)$&*#0)%$H))g'")*+) &1")F*$&)%'&"#"$-'G)&1%'G$).E*6&) >1"#/*(@)%')&1")3#$&)</.(").#")1*L) F.'0) 4%\"#"'&) 4"<%(-*'$) *+) 1%F) there are. Although these might '*&) E") &1") $<"(%3() J*/F"$) .'4) Watson characters that you would #".4%/0)+.//)+*#A)%&U$)%'&"#"$-'G).'4)</".‐ surable to learn their origins. ?'*&1"#) (/.$$%() V#%-$1) (#%F") .'4) mystery writer we all know and love %$)?G.&1.)W1#%$-"A)L1*)L#*&")'*)+"L"#) than ninety‐one books (including her autobiography). Forty‐three of those books were dedicated to one man, Hercule !*%#*&A) .'4) &1") 3#$&) E**@) %') 1%$) $"#%"$) %$) @'*L') .$) The Mysterious ?\.%#).&)>&0/"$H ?$)L%&1)&1")3#$&)>1"#/*(@)J*/F"$)E**@A)*'")$1*6/4)'*&)G"&)%'&*) &1%$) '*2"/) ";<"(-'G) #%G1&) .L.0) &*) +.//) 1".4) *2"#) 1""/$) +*#) %&$) (1.#‐ .(&"#$H))?/$*)'*&"L*#&10Z)&1")L.0)%')L1%(1)>&0/"$)%$)L#%8"')F.@"$)%&) fairly easy to get through compared to Doyle’s books. This is probably .8#%E6&.E/")&*)&1")E**@$U)"#.$A).$)L"//).$)T*0/").'4)W1#%$-"U$)6'%Y6") 2*%("$H))?'4)<"#1.<$)%&U$)L10)B)1*/4)W1#%$-"U$)E**@)%')1%G1"#).\"(-*') &1.')T*0/"U$[)%&U$)./F*$&)./L.0$)".$%"#)&*)"'D*0).)$&*#0)%+)0*6)(.')F*#") fully understand or relate to its voice. ?//)%').//A)!*%#*&U$)3#$&)'*2"/)%$).')".$0)#".4A).'4)%&)1.$)%&$)$6$<"'$"‐ ful moments. It’s good if you don’t mind your mystery novels not

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E"%'G)<.#-(6/.#/0).(-*'b*#%"'&"4H ?/&1*6G1)%&U$)'*&).)4"&"(-2")$&*#0)$*)F6(1).$).)F0$&"#0A)L1.&)%$) .#G6.E/0) ?G.&1.) W1#%$-"U$) F*$&) +.F*6$/0) $6(("$$+6/) '*2"/$) %$) And Then There Were None. g'")*+)&1")F*$&)+.F*6$)L1*46'%&)(.$"$)%')&1")1%$&*#0)*+)3(-*') `.$)%&)/.%4)&1")E.$")+*#)F.'0)L#%-'G$).'4)(%'"F.-()L*#@$)&*)+*//*LaA) the story plays out like this: ten people, all strangers to each other, each burdened with a terrible secret are invited as weekend guests to the island of an unnamed millionaire. When the mysterious vigilante *+)D6$-(")$&.#&$)@%//%'G)*\)".(1)G6"$&)*'")E0)*'"A)*'/0)*'")&1%'G)(.') be assumed: the murderer is one of them. 51"#")%$)$*F"&1%'G)%##"$%$-E/0)/%@".E/").E*6&)&1%$)$&*#0A).'4)%$)4"3‐ '%&"/0)L.0)F*#")%'&"'$")&1.')&1")&L*).+*#"F"'-*'"4)E**@$H))?G.%'A) it’s not much in the way of character develop‐ F"'&A) E6&) %&U$) 4%\"#"'&) %') &1.&) ".(1) .'4) every character is nonetheless really %'&"#"$-'GH)B&)./$*)+*#("$)0*6)&*)L*'‐ der whether or not you agree with the %4"./$)E"%'G)</.("4)E"+*#")0*6[)(*6/4) it be possible that you agree with, or "2"').<<#*2")*+A)&1").(-*'$)&1")F6#‐ derer is carrying out? Are all these <"*</"$U)(#%F"$)"Y6.//0)&"##%E/").'4) "'*6G1) $*) &*) E"G"&) .) &"##*#b3//"4) death? Is that even for any of us to say? I think this is a great book for any‐ *'") L1*) L.'&$) &*) G"&) %'&*) W1#%$-"U$) L*#@)*#)D6$&)L.'&$).)G#".&)#".4)%')G"'‐ "#./H) ) B+) !*%#*&U$) 3#$&) '*2"/) %$) /.%4bE.(@A) then this book is the kind that keeps you on‐edge in more ways than one. Last but not least is Raymond Chandler’s The Big Sleep. Here is where we see the (0'%(./A) $F**&1b&./@%'G) 4"&"(-2") &.@") &1") stage: Philip Marlowe is your private‐eye for hire. Hard as ice, yet merciful, and maybe even slightly compassionate deep down, he’s a hard shell to crack, and almost as hard as the case he’s put up to in his debut novel. What on the surface looks like an act of fraud becomes one of blackmail, missing persons, and eventually murder, and it’s up to him to uncover what happened, let the chips fall where they may. q'/%@")?'4)51"')51"#")R"#")Q*'"A)&1%$)%$).)4"&"(-2")$&*#0).$)L"//) as a mystery, and I would recommend it less for those who aren’t into that sort of thing. It’s not long so much as it is dense, and it &.@"$).)L1%/")&*)G"&)%'&*[)*'(")0*6)4*A)&1*6G1A)%&U$)4"3'%&"/0)L*#&1) it. Chandler has a way with dialogue and imagery that evokes men‐ tal images everyone’s familiar with, even if you’ve never actually L.&(1"4).)'*%#)3/FH))B&)4*"$'U&)&.@")/*'G).&).//)&*)E"(*F")%FF"#$"4)%') his world of crime and family secrets, and in this sense, it’s a real treat

Entertainment 54$)*678%;<1=6:

Sherlock and Moriarty A Mind Game

0$%)$*<>!61"4!(%I$>H$$1%E!:%]6R )!<)>A%<1=%54$)*678%96*:$"%7<1%I$% I)68$1%=6H1%"!:(*AP%J<HC#*%T66=% N$)"#"%Y4<6>!7%iN!*G%h4$1%*668$=%<>% :6)$%76:(*$M*AF%!>%!"%$<"A%>6%"$$%46H% 61$%7<116>%*!N$%H!>46#>%>4$%6>4$)% <"%H$**%<"%46H%>)#*A%"!:!*<)%>4$%>H6% 74<)<7>$)"%<)$G by Kristin Entler 51"#"u$) $*F"&1%'G) 6'%Y6") .E*6&) &1") F"'&./) (.<.(%-"$) *+) >1"#/*(@) J*/F"$) .'4) Jim Moriarty. The BBC television show, co‐ L#%8"') E0) >&"2"') 7*\.&) .'4) 7.#@) N.-$$) (who also appears as Sherlock's government‐ (*'&#*//%'G) E#*&1"#A) 70(#*Ma) +*(6$"$) *') &1") re‐telling of Sir Arthur Conan Doyle's classic mystery novels. While the show is based on Doyle's Holmes canon, the creators sim‐ </0)F*4"#'%C"4)%&H)>"&)%')=*'4*'A)&1")$"#%"$) +*(6$"$)*')&1")$&*#%"$)*+)S.&F.&"$).'4)E"$&) friends, Sherlock Holmes and John Watson. Watson is an ex‐military doctor who craves the adrenaline rushes and adventures from 1%$) -F") %') &1") 3"/4H) J*/F"$) %$) .) v1%G1/0) +6'(-*'%'G) $*(%*<.&1v) L1*) G"&$) *\) *') &1") <6CC/"$) (#".&"4) E0) "2%/) G"'%6$"$A) $6(1) .$) serial killers and other murderers. It is here that Jim Moriarty comes into the scenario. It can be said that Moriarty is on the same level of genius as Holmes is: both characters IQs .#") 6'%F.G%'.E/0) 1%G1A) &1"0) (#.2") <6CC/"$A) and they think of themselves as superior. Sherlock and Moriarty are unmatched by the rest of the world in their genius. Their minds are complex and rare, and while one uses it to help others, the other one uses his to cause chaos and defeat the good guy. B&u$) .) (/.$$%() G**4) 2"#$6$) E.4) $%&6.-*'A) .'4) $*F"-F"$A).$)%')&1")#"./)L*#/4A)&1")/%'"$)G"&) blurred and the good guy is blamed. The two characters spend most of the series locked in .)E.8/")*+)L%&$H)51")F*$&)*E2%*6$)E.8/")%$)*') &1")#**M*<)*+)>&H)V.#&1*/*F"Lu$)J*$<%&./)%') “The Reichenbach Fall.” Many viewers have Y6"$-*'"4)>1"#/*(@u$)"'-#")<"#$*'.)+*#)&1") "<%$*4")L%&1)#"F.#@$)&1.&)1")%$'u&)Y6%&")1%F‐ self. If one watches the episode, they can see &1")4%\"#"'("$)%')>1"#/*(@)E"&L""')1"#").'4) %')&1")*&1"#)32"H)J")%$)'*&)1%F$"/+H)B&)%$)Y6"$‐ -*'"4) L1"&1"#) *#) '*&) &1%$) %$) &*) *6&$F.#&) Moriarty. The study of this episode is mainly in search of what are known as Reichenbach Theories, or theories as to why Sherlock

D6F<"4A)L1%(1)%$)&1")<*%'&H)51")F%'4)G.F") these two characters play goes as far as 7*#%.#&0) +*#(%'G) >1"#/*(@) %'&*) (*FF%K'G) $6%(%4"H)51")&L*)(.'u&)F"#"/0)";%$&[)&1"0)1.2") &*)G*).$)+.#).$)(#".-'G).'4)$*/2%'G)<6CC/"$H ))))7*#%.#&0).'4)>1"#/*(@)(#.2")<6CC/"$[).) constant unknown variable for their minds to obsess over. They are much like fangirls in this respect. Sherlock's desire to have an %'&"#"$-'G) (.$") *2"##%4"$) 1%$) .'4) R.&$*'u$) need of money to survive and pay the rent. This, of course, tends to occasionally bother R.&$*').$)1").8"F<&$)&*)+*#(")>1"#/*(@)%'&*) cases he has no interest in. Moriarty is the bane to Sherlock's existence, yet one may believe they couldn't survive without each other. Both of these masterminds have a need for a challenge in their lives. They also create this challenge for each other. Moriarty creates games for Sherlock to solve, even telling Sherlock this in “The Reichenbach Fall”: “I want to solve the problem. Our prob‐ /"FH)51")3'./)<#*E/"FH)B&u$)G*%'G)&*)$&.#&)2"#0) soon, Sherlock. The fall.” It is in these lines that Moriarty tells Sherlock what to expect and Sherlock not only hears him but under‐ stands, though he may pretend not to. He knows how Moriarty sees them, and they both have the same mental complex. These two men think themselves to be above everyone else, and in many ways, they are. Not only do these two have supe‐ #%*#) Bw$A) E6&) &1"0) #"./%C") &1%$) .'4) $"") 1*L) much more intelligent they are than normal <"*</"H)R1%/")*')&1")#**M*<)7*#%.#&0)"2"') alludes to this, telling Sherlock, “You're ordi‐ nary. You're on the side of the angels,” while Sherlock's response is “Oh, I may be on the

$%4") *+) &1") .'G"/$[) 4*'u&) &1%'@) +*#) .) $"(*'4) that I am one.” Normal is the last thing either of these men want to be. The thought of 1.2%'G).)O+6''0)/%8/") E#.%'P) +#%G1&"'$) &1"FH) Moriarty knows this as he retorts that he .'4)>1"#/*(@).#")&1")$.F"H)g')&1")#**M*<A) he mocks Sherlock, calling him “ordinary”, knowing that this is the last thing either of &1"F) L*6/4) L.'&) *+) &1"F$"/2"$H) B&) %$) $-//) unclear what precisely happened on top of &1")1*$<%&./A)E6&)*'")&1%'G)%$)6/-F.&"/0)(/".#Z) the two are playing each other. Sherlock and Moriarty are the epitome *+)G**4).'4)"2%/H)7*#%.#&0A)D6$&)/%@")"2"#0)E.4) guy, feels he's doing things for, what are in his mind, good reasons, like trying to con‐ vince the world that Sherlock is the bad guy. Sherlock and Watson, being the good guys, try and combat Moriarty. It's an ancient story that repeats itself over and over in every story: the protagonist and the antagonist. 7*\.&).'4)N.-$$)#"(#".&")&1%$)#"<"--*')E0) &1#*L%'G)%')&1")6/-F.&")(/%x.'G"#Z)>1"#/*(@) D6F<%'G) *\) &1") #**+) .'4) $*F"1*L) $6#2%2‐ ing. Seeing as Moriarty shot himself a few minutes prior. This implies that Sherlock has L*') &1") 3'./) G.F"H) J"u$) $*/2"4) &1"%#) O3'./) <#*E/"FHP) 7.'0) +.'$) Y6"$-*') L1"&1"#) *#) '*&)7*#%.#&0)%$)4".4)D64G%'G)*')&1").F*6'&) *+) $<%//"4) E/**4H) J*L"2"#) *2"#b.'./0-(./) &1") 2%"L"#$) .#"A) @'*L%'G) 7*\.&A) &1"#") %$) .)) '""4)&*)E").$)$@"<-(./).$)<*$$%E/"H)R%&1)&1") upcoming third series of the show, viewers $%&).'4)L.%&)+*#)&1"%#)1%G1/0)+6'(-*'%'G)$*(%*‐ path to return to them, all the while looking +*#) <6CC/"$) L%&1%') &1") G#".&) G.F") &1"0) (.') solve for themselves.

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Magic the Gathering: An Introduction to Trading Card Games @C%>4$)$Z"%61$%>)<=!12%7<)=%2<:$%A6#%"46#*=%(*<A%C6)%<%><">$%6C%H4<>%>4$% 2$1)$%4<"%>6%6j$)F%!>Z"%]<2!7%>4$%T<>4$)!12G%@1%<%"$1"$F%!>Z"%<%=$78RI#!*=!12% 2<:$%H4!74%761"!">"%6C%76**$7>!12%7<)="%)$*$<"$=%IA%h!U<)="%6C%>4$%Y6<">F%>4$% 76:(<1A%>4<>%<*"6%()6=#7$"%?#12$61"%<1=%?)<261"%()6=#7>"G%k$H%(*<A$)"% :<A%C$$*%>4<>%>4$%"4$$)%1#:I$)%6C%7<)="%<N<!*<I*$%>6%(*<A%H!>4%!"%=<#1>!12% 6)%>4<>%>4$%)#*$"%<)$%C<)%>66%76:(*$M%<1=%$N$)R74<12!12%>6%>)#*A%#1=$)"><1=% H!>46#>%">#=A!12%>4$%2<:$Z"%:$74<1!7"%>46)6#24*AG%@1%<7>#<*!>AF%]<2!7%>4$% T<>4$)!12%!"%<%C#1%<1=%)$*<>!N$*A%$<"A%7<)=%2<:$%>6%#1=$)"><1=G +,*;%&(%*2#>#&5#C&/, Let’s start with what you need to play a game of Magic. All you need is a deck of (.#4$)(*'$%$-'G)*+)$<"//$)$6(1).$)(#".&6#"$)*#) sorceries, and mana, or lands, to cast these spells. You can buy these cards in random‐ %C"4) <.(@$) *+) ip) (.#4$) (.//"4) V**$&"#)!.(@$A) or in pre‐made decks. These pre‐made decks come in the form of Intro Decks for newer players or Event Decks for more experienced </.0"#$H)R1.&"2"#)&1")(.$"A)&1"#")%$)$-//).)E%&) of a disconnect between new players and understanding what Magic really is. These are where sets come into play. ))))7.G%()(.')E").)+*#F)*+)%'&"#.(-2")$&*#0‐ telling if you consider the stories told through the themes of the blocks. Behind the tourna‐ F"'&$A)4#.M$A).'4)*&1"#)(*F<"--2")"2"'&$) in Magic the Gathering is the world that R%C.#4$)*+)&1")W*.$&)<#"$"'&$)&*)%&$)(*'$6F‐ ers through themed blocks of sets for their products. Every three to four months, a new set of Magic cards comes out that not only to adds new cards to the pool of playable cards, but also progresses the story that the cards tell. Three sets make a block, released yearly in October, February, and May, and make up a sort of trilogy of Magic lore. They publish fantasy short stories on their website to pro‐ mote the knowledge of the stories behind the sets, but it’s most easily found in the card .#&H) N"K'G) '"L) </.0"#$) %'&*) 7.G%() %$) 1.#4) when the sheer number of products seems $*) 4.6'-'GA) E6&) 1.2%'G) &1") E.(@4#*<) *+) .) story to follow and art to collect does draw new players into the game. ))))51")'6FE"#)*+)(.#4$)%$)'*&).$)4.6'-'G) as it may seem, however. Sure, players may choose to create decks using cards from vari‐ *6$)*/4"#)$"&$A)E6&)%&U$)D6$&).$)(*FF*')&*)$"") </.0"#$)1.2")".$%/0)#"(*G'%C.E/")(.#4$)%')&1"%#) decks because of the formats that Magic has on its tool belt. If you pick up a deck at your local Target and add some cards to it from Booster Packs you’ve bought recently, this is called playing in the Standard format. Standard is the name for the number of sets

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that are the most recent, usually the most #"("'&) 32") $"&$H) 51%$) %$) .) +*#F.&) &1.&) F*$&) tournaments are based around because it sets a standard for how many types of cards could be seen in the contestant’s decks. There’s no need to know every card ever created in Magic history to play at your local game shop, the more you play the more knowledgeable you will become naturally on &1")G.F"U$)F"(1.'%($).'4)$<"(%3()(.#4$H Now to go over the basic rules of the game. In it, you play to get your opponent’s &*&./) /%+"<*%'&$) &*) C"#*) +#*F) &L"'&0A) 6$%'G) cards like sorceries or instantaneous magic, *#)(.$-'G)(#".&6#"$)&*)3G1&)E0)0*6#)$%4").'4) $&.0)*')&1")E.8/"3"/4H)51"#")%$).)4%$(.#4)<%/") for dead creatures or used spells, and your mana base in the form of land cards. Lands .#") #"<#"$"'&"4) E0) 32") (*/*#$A) L1%&"A) #"4A) black, blue, and green. These colors and their principles are what most new players build their deck around. White is orderly, righteous authority and small creatures, whereas black %$)4".&1).'4)"2%/A)L%&1)(#".&6#"$)/%@")C*FE%"$) *#) #.&$H) f"4) %$) .GG#"$$%2") .'4) +.$&) /%@") 3#"A) while green is slow to start but can cast enor‐ mous creatures to create unstoppable walls *+) 4"+"'$") .'4) .8.(@"#$) +*#) *\"'$"H) V/6") is a color with spells that control the game, forcing opponents to discard cards or prevent &1"F)+#*F)(.$-'G)$<"//$).//)&*G"&1"#A).'4)%$) ./$*)'*&*#%*6$)+*#)"2.$%2")S0%'G)(#".&6#"$H Now that you know most of the ins and outs of Magic the Gathering, you’re ready to pick up a deck of your own. Don’t be shy to 3'4).)G.F")$&*#")'".#)0*6)&*)</.0)L%&1)*&1‐ ers, or simply introduce your friends to the game and you’ll all have fun together. It’s an enriching hobby, as you’ll see when you put 0*6#) 3#$&) L%''%'G) 4"(@) &*G"&1"#) .'4) E".&) your friends.

MustPlay Tabletop Games +,*;%&(%*2#>#&5#C&/, We’ve talked about a lot of games here at &1")?'G/"#3$1A).'4)0*6)F.0)1.2")+*6'4)0*6#‐ self wondering what games are must plays. Tabletop roleplaying or board games are near and dear to my heart, and to woo others to the hobby, here are some of the more popu‐ lar games you can play to test the tabletop gaming waters. ))))>"8/"#$)*+)W.&.')%$)*'")*+)&1")F*$&)<*<‐ ular board games on the market right now. The concept is simple: get to 10 points before your friends by trading resources like sheep .'4)L**4A).'4)G.%')<*%'&$)E0)E6%/4%'G)$"8/"‐ F"'&$) .'4) &*L'$H) 51") E*.#4) %$) #.'4*F%C"4) "2"#0)-F")E0)&1")</.("F"'&)*+)/.'4)-/"$A)$*) it has immense replay value as well as being highly strategic. While you’re having fun expanding your resources and trading them with other players, you’re also learning basic economic principles. Catan is a great stable for any household or group of four who’d like to invest in a classic game. ))))51"),/6;;)G.F"$).#")G#".&)+*#)<.#-"$A) and are also playable by two people or more. Fluxx is an ever changing card game in which the rules depend on the cards played. The basic rules are to draw a card and play a card on your turn, and to win, you must simply complete the goal presented when a goal card is in play. These simple rules make for a massively entertaining game with seem‐ %'G/0) /%8/") $&#.&"G0A) E6&) <#*2"$) &1.&) </.0%'G) the right cards in the right order can lead to a big win. Lastly, if there is one game that can turn you on to tabletop games, it’s Munchkin. Created as a parody of dungeon‐crawling role playing games, here you play as a munchkin dungeoneer aspiring to reach level 10 before 0*6#) *&1"#) (*F<.'%*'$H) X*6U//) 3G1&) F*'‐ sters, loot for treasure, and backstab your friends in the process. This game is not easily $6FF"4)6<)%')*'")<#"80)<.(@.G"A)E6&)L1.&) is clear is this game can bring people together by tearing them apart in game. You’ll laugh, you’ll cry, and you’ll love it all. With these three games under your belt, you’ll experience one of the most important aspects of tabletop gaming. These games $""F) &*) #"Y6%#") $&#.&"G0) &*) $*F") 4"G#""A) but even a newbie player can rally up some +#%"'4$A) L%') .) G.F"A) .'4) 1.2") .) G#".&) -F") doing so even without knowing the game’s (*F</";%-"$H

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AB'I)-75'>,4!#!')-7'K#)-!+)*:! '%*668%<>%N<)!6#"%N<)!<>!61"%6C%>4$% 9<1"$*%<1=%T)$>$*%<1=%>4$%E<78% <1=%>4$%_$<1"><*8%><*$F%H!>4%"($7!<*% $:(4<"!"%61%16"><*2!7%)$>$**!12"%<1=% I)!$C%"#::<)!$"%6C%>4$%=!"<((6!1>!12% 1$H%)$*$<"$"G%% 2,*D.59&&%!-,11*E.91.$%1 In recent years, there has been an onslaught of fairy tale re‐imaginings. This includes many fan favorites, such as ‘Snow White’ and ‘Beauty and the Beast’. This year $*)+.#A)L"U2")$""')&1.&)h51")R%C.#4)*+)gCU)1.$) been used and reused in numerous forms. But that is not the only fairy tale to take to &1") $(#""'$) &1%$) 0".#[) 51") N#%FF) V#*&1"#$U) ‘Hansel and Gretel’ and the English folk‐ lore tale of ‘Jack the Giant Slayer’ have also graced Hollywood. ‘Hansel and Gretel’ is a German folk‐ tale and takes place in the iconic Black Forest. B&$)$&*#0A)/%@")%&$)$"K'GA)%$)+.F*6$H)T6#%'G).) +.F%'"A).)F.'%<6/.-2")$"(*'4)L%+")&"//$)1"#) husband to abandon his two children in the woods so food wouldn’t become as scarce with two mouths to feed instead of four. Hansel and Gretel are forced deep into the wood and are abandoned with an untrace‐ .E/") <.&1H) ?M"#) L.'4"#%'G) .'4) G#*L%'G) hungry, they come upon a house made of candy, inhabited by a blind old woman. She *\"#$) &1"F) +**4A) E*&1) &1.&) $1") F.@"$) .'4) +#*F)1"#)1*F"U$)+*6'4.-*'$A).'4)E"4H)B&)%$) .&) &1%$) <*%'&) L1"#") 2.#%.-*'$) E"G%'A) E6&) .//) %').//A)$1")%$).)(.''%E./%$-()L%&(1)L1*)</.'$) to feast on Hansel and Gretel, forcing the for‐ F"#)%'&*).)(.G").'4)&1")/.8"#)&*)E").)$/.2"H)B') the end, they trick the witch, shoving her into a furnace, burning her alive, and then steal her riches. To this day, the story has seen few retell‐ ings, parodies, and such. There have been references, such as on Grimm and Once Upon a Time, television’s resident fairy tale nostalgia factories, with episodes devoted to the stories (“The Organ Grinder” and O5#6") Q*#&1PA) #"$<"(-2"/0aH) 51"') &1"#") L.$) 5%F) V6#&*'dT%$'"0U$) /%2") .(-*') 5_) $<"(%./) %')ijnoA).')%'&"G#.-*')%'&*)VVWU$)h>1"#/*(@U) (‘The Reichenbach Fall’), a sketch in the elev‐ enth “Treehouse of Horror” episode (‘The >%F<$*'$UA) olllaA) .) &"##%E/") 2.#%.-*') $&.#‐ ring a young Taylor Momsen in 2002, and my personal favorite: a ‘Looney Tunes’ episode (“Bewitched Bunny”), and a German opera.. This year, three retellings have come out.

Asylum’s direct‐to‐DVD ‘Hansel and Gretel’ 1%&)&1")$1"/2"$)3#$&).'4)F*(@"4)hJ.'$"/).'4) N#"&"/Z)R%&(1)J6'&"#$UH)51")-&6/.#)(1.#.(&"#$) .8"F<&)&*)"$(.<")=%/%&1)`&1")R%&(1a).'4)1"#) two mute sons and foil Lilith’s devious plans to make the nearby town obese with meat pies. ‘Hansel and Gretel: Witch Hunters’ is <#*E.E/0) &1") *'/0) *'") *+) &1"$") &1#"") 3/F$) 0*6U//)#"(*G'%C"A)46")&*)&1")";("$$%2")&#.%/"#$) and its three leads: Gemma Arterton, Jeremy Renner, and Famke Janssen. The story fol‐

lows the brother and sister duo, now bounty 16'&"#$A)3M""')0".#$).M"#)&1"%#)*#4"./H)V*&1) .#") 4"4%(.&"4) &*) &1") 4"$&#6(-*') *+) L%&(1"$) and are immune to their curses and spells. 51"0).8"F<&)&*)4"+".&)&1")G#.'4)1%G1)L%&(1) .$) $1") .8"F<&$) &*) <#"<.#") +*#) .) #%&6./A) .'4) the two discover secrets of their past. The 3'./) F*2%") %$) &1") 1*##*#b(*F"40) hJ.'$"/) 9) Gretel Get Baked’. It loosely follows the story, with Michael Welch and Molly Quinn as the -&6/.#) $%E/%'G$A) .'4A) %+) &1") -&/") L.$'U&) (/".#A) the candy is swapped for drugs. ‘Jack the Giant Slayer’ would only grow &*) E") hI.(@) .'4) &1") V".'$&./@U) L%&1) -F"H) The original writer is unknown, though the $&*#0) &.@"$) </.(") %') &1") -F") *+) r%'G) ?#&16#) .'4) L.$'U&) <"''"4) 6'-/) &1") ".#/0) iyll$[) 1*L"2"#A) &1") $&*#0) %$) Y6%&") &1") *<<*$%&"H) 51") *#%G%'./) 2"#$%*') %$) .E*6&) .) L%80) I.(@) who murders and traps various giants, gain‐ ing their treasures in the process. The story would later be adopted into the familiar tale

of a boy and mother who struggle to make end’s meet. The boy, Jack, would make the shameful error of trading their cow for magic E".'$H) T"$<%&") 1%$) F*&1"#U$) %'%-./) .'G"#) about the trade, the beans show to be useful as the stalks grow up into the clouds over‐ '%G1&H)I.(@)(/%FE$)&1")$&./@$)&*)3'4).)G%.'&U$) (.$&/"A)L1"#")1")$&"./$)2.#%*6$)*ED"(&$)L1%(1) he sells for untold riches, and he eventually kills the giant. Jack’s story has been retold more in the past than in this century. There were three h7"##%") 7"/*4%"$U) 2.#%.-*'$A) .'4) (*F"40) G#*6<$) /%@") ?EE*8) .'4) W*$&"//*) .'4) &1") Three Stooges would taken on the challenge of performing it. ‘Once Upon a Time’ would also take a stab at the story in season 2’s epi‐ sode “Tallahassee”. Jack would become the <#*&.G*'%$&) %') .) $<%'*\) *+) &1") (*F%() $"#%"$) ‘Fables’, and his story is used in ‘Happy Tree Friends’ and was parodied by Roald Dahl. Its second‐to‐most‐recent retelling was in olilA).)$&#.%G1&b&*bT_T)3/F)E0)?2./*'),.F%/0) Entertainment with Christopher Lloyd, N%/E"#&) N*z#%"4A) R.//.(") >1.L') .'4) W1/*{) N#.(") 7*#"&CH) ) 5L*) *&1"#) .4.<&.-*'$) &1.&) really stand out, in my mind, are Disney’s 1947 ‘Mickey and the Beanstalk’ and Jim Henson’s 2001 ‘Jack and the Beanstalk: The Real Story’, which has an ethical take on the original story and is actually truer to the ‘Slayer’ story. ))))5L*)3/F$)E.$"4)*')&1")&./")$6#+.("4)&1%$) year: Bryan Singer’s ‘Jack the Giant Slayer’ tells the tale of Jack (Nicholas Hoult), his inadvertent opening of a portal that linked his land with a giant kingdom, and his rise to heroism as he must defeat the giants and rescue the princess. The story explores paral‐ lels between Jack and the princess Isabelle, who would become an item because, hey, it’s a fantasy movie. Hilariously, ‘Jack the Giant r%//"#UA) &1") *&1"#) I.(@) 3/F) &*) (*F") *6&) &1%$) 0".#A) %$) ./$*) .') ?$0/6F) 3/FH) ,#*F) &1.&A) 0*6) can gather that it’s a horror‐comedy, paro‐ 40%'G) &1") 3/F) D6$&) 4%$(6$$"4H) B&) $&.##"4) V"') Cross, and ironically stuck closer to the origi‐ './)&./")&1.')&1")+*#F"#)3/FH)) Hansel and Gretel, along with Jack, are 4"3'%&"/0)F"F*#.E/")$&*#%"$).'4)(1.#.(&"#$) from our childhoods. It’s strange to see how underrated they are in today’s media, and when they are remade, they really miss the core and beauty of these stories. I strongly 6#G") 0*6) &*) (1"(@) *6&) &1") .+*#"F"'-*'"4) episodes of ‘Once Upon a Time’, as well as &1") F"'-*'"4) (.#&**'$H) ?//*L) 0*6#$"/+) &*) &.@").)&#%<)4*L')'*$&./G%.)/.'"A).'4)6'-/)'";&) -F"A)4*'U&)/"&)0*6#)%''"#)(1%/4)4%FH)

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Nostalgic Rerun h!>4%"46H"%*!8$%m'=N$1>#)$%Q!:$Z% <1=%m]A%J!O*$%D61AP%;)!$1="4!(% !"%]<2!7FZ%<1=%)$I66>"%"#74%<"% mQ$$1<2$%]#><1>%k!1S<%Q#)>*$"FZ% m0$%\,Z"%')$%'**%0<>FZ%<1=% mT!)*%]$$>"%h6)*=FZ%>4$%H6)*=%6C% >$*$N!"!61%!"%*668!12%:6)$%<1=%:6)$% >6%!>Z"%(<">%C6)%!=$<"G%_#>%h4Ag By: Eric Cole Have you ever been reading a book and thought to yourself, “Man, I wish this was as G**4) .$) |%'$"#&) (1%/41**4) E**@) 1"#"|^P}) B+) so, you have experienced nostalgia. Have you ever watched an episode of ‘Adventure Time’ and thought, “Wow, this reminds me so much *+)|%'$"#&)(1%/41**4)$1*L)1"#"|^P)B+)$*A)0*6) have experienced nostalgia. When you went &*) G*) $"") h51") ?F.C%'G) ><%4"#b7.'UA) 4%4) 0*6) &1%'@) *+) 1*L) F6(1) %&) L.$) /%@") &1") 3#$&) ‘Spider‐Man’ from 2002? Well, okay, maybe that last one wasn’t nostalgia, but the point is, we all experience nostalgia in our lives, and frankly, I have been thinking about it a lot lately. Perhaps it is because I am almost thirty years old, but it seems to me that wher‐ ever I look, all I see are things that remind me of my childhood, and nowhere is that more prevalent than on television. Although shows like ‘Adventure Time’, ‘Avatar: The Last ?%#E"'4"#UA)h70)=%8/")!*'0UA)h5""'.G")76&.'&) Q%'D.)56#&/"$UA).'4)&1")6<(*F%'G)hN%#/)7""&$) R*#/4U)F.0).//)1.2")4%\"#"'&)(*'("<&$A)</*&) lines, and characters, they all share one thing in common: they all remind me of television $1*L$) +#*F) &1") '%'"-"$A) .'4) %&) 4*"$) '*&) seem as if this trend is going to diminish any‐ -F")$**'H)>*A)B)$"&)*6&)*').)$".#(1)&*)3'4)&1") .'$L"#)&*)&1")Y6"$-*'A)OR10)4*"$)%&)$""F) as if television publishers are trying to recre‐ .&")&1")'%'"-"$}P)?M"#)$*F")4""<)&1*6G1&A) I have come up with two possible explana‐ -*'$A)*'")*+)L1%(1)%$).)/%8/")E%&)(0'%(./A).'4) &1")*&1"#)L1%(1)%$)D6$&).)#"./%&0H It’s all about the money! If you ask my friends, this is the most /%@"/0)";</.'.-*'H)=**@).&)$*F")*+)&1")(*F‐ F"'&$) &1"0) /"M) F") L1"') B) .$@"4) &1"F) &1%$) 2"#0) Y6"$-*') *') ,.("E**@Z) ?((*#4%'G) &*) my friend Samantha, “Networks try to rec‐ #".&") &1"$") E"(.6$") *+) #.-'G$H) 51"0U#") 1*<%'G)&*)G"&)&1")#.-'G$)*+)E*&1)&1")0*6'G"#) .'4) &1") */4"#) G"'"#.-*'[P) ?F.'4.) &1%'@$) that “networks try and recreate old shows because they were in the prime then, and

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are something people compare now, and they hope to gain a glimmer of the popu‐ /.#%&0)%&)1.4[P)5"#"$.)E"/%"2"$)O&1.&)&1"0).#") #"F.@%'G)&1")*/4)$&6\)E"(.6$")&1"0)L"#")$*) popular then, and the people of our genera‐ -*')L%//)&*&.//0)L.&(1)&1"F).G.%')E"(.6$")%&) F.@"$)6$)'*$&./G%().'4)1.<<0HP)5#.'$/.-*'Z)B&) is all about the money, which is a hard point to argue. If you think about it, if something L.$) F.$$%2"/0) <*<6/.#) E.(@) %') &1") '%'"-"$A) then why not try and recreate it and hope 0*6)1%&).)(.$1)(*L).)$"(*'4)-F").#*6'4})B&) F.@"$)$F.#&)E6$%'"$$)$"'$"^)q'+*#&6'.&"/0A) as one of my friend, Amanda, put it, “It nor‐ F.//0)4*"$'U&)L*#@).'4)E.(@3#"$)E"(.6$")%&) simply can’t live up to the old shows and the people that made them,” which is another valid point. When someone has built some‐ thing up in their head to be so great, it is hard &*)/%2")6<)&*)&1*$")";<"(&.-*'$).G.%'A)L1%(1) is why I think networks are smart enough not to completely bank on their reboot working. !"#"$%&%'()*+&),-&.)/"0"1)%().2")(%("3"&4

%$) L10) +.') E.$"$) +*#) &1") '%'"-"$) Q%(@&**'$) such as ‘Rocko’s Modern Life’ and ‘Rugrats’, Saturday Night, SNick, programming such as ‘All That’, and ‘Clarissa Explains it All’, and Friday Night, TGIF, programming such as ‘Boy 7""&$) R*#/4U) .#") $-//) &1#%2%'G) &*4.0A) .'4) people appreciate those programs that help them never forget. B').//)1*'"$&/0A)&1")G"'6%'")";</.'.-*')+*#) this recent trend probably lies somewhere in the middle of the two proposed here. An ";</.'.-*') &1.&) B) E"/%"2") %$) <"#+"(&/0) (.<‐ &6#"4)E0)F0)+"//*L)$&.\)L#%&"#A)7"/%$$.Z)OB&U$) funny because I’m 16 and prefer animated shows from the 80’s and early 90’s, shows that ended before I turned 6 or even before &1.&A) &1*6G1) &1"#") .#") ";("<-*'$) `h?Z5=?U) ’LOK’, ‘P&F’, ‘MLP’, etc...). I mean that, as I’ll $-//) $".#(1) +*#) &1"F) *') X*656E"A) *#) L1"') B) (#""<)F0)+#%"'4U$)Q"~/%;A)*#)$*F")*&1"#)L"E‐ site. I love the nostalgia, and when I need a dose of kiddie life, my brain feels less like it’ll F"/&)*#)";</*4")&1.')%&)4*"$)L1"')B).8"F<&) &*)L.&(1)$1*L$)<*<6/.#%C"4)+*#)@%4$)&*4.0H)B) &1%'@)&1.&)&1"0U2").8"F<&"4)&*)E")#"(#".&"4) due to the fan base and enthusiasm that old shows obtained. People were invested in the shows due to them being clever, not as S.&A) #"/.&.E/"A) .'4) F*$&) %F<*#&.'&/0Z) &1"0) took their viewers seriously. This last thing is $*F"&1%'G)Y6%&")#.#")%')(.#&**'$A)"2"')L1"') they’re recreated today.”

That is not to say that there are not a lot of great shows on television these days, as I 1.2")./#".40)F"'-*'"4).)(*6</")&1#*6G1*6&) &1%$).#-(/"H)J*L"2"#A)&1"$")$1*L$).#")G#".&) because they remind us of shows from the '%'"-"$A) L1"') &"/"2%$%*') L.$) .E*6&) F*#") &1.')D6$&)&1#*L%'G)(*/*#$).&)@%4$)*#)&#0%'G)&*) G"&) &1") (1".<) /.6G1H) >1*L$) %') &1") '%'"-"$A) especially those made for kids and teens, J*L) .E*6&) %&A) +"//*L) ?'G/"#3$1"$}) R1.&) had engaging plot lines, characters that you ";</.'.-*')4*)0*6)E"/%"2")%'} cared about and who grew as the series pro‐ gressed, dialogue that made you genuinely laugh, cry, or think, and episodes that made you feel true tension or heartache. It was not .E*6&)4*%'G)D6$&)"'*6G1)+*#)&1")$.@")*+)$&.0‐ %'G)*')&1").%#[)%&)L.$).E*6&)4*%'G).//)0*6)(*6/4) to be as great of a program as possible. That

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The Persistence of Fictional Psychos … ,.'8(5'F,'8#'>)+#'6,'L,E#'I.)M5'N):#'J4.7#.#.!9

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g%%@"% !>%>4<>%>4$%>$1"!61%:<8$"%C6)%266=%QnF%6)%!"%!>%"6:$>4!12% :6)$%>4<1%>4<>g 2,*F%&#1*;)%G/ Before exploring what I believe to be a resurgence in this %'&"#"$&A)L")'""4)&*)$&.#&)L%&1)*'")*+)&1")3#$&)";</*#.-*'$)*+)$6(1) deviance: Robert Louis Stevenson’s 1886 novel ‘The Strange Case of Dr. Jekyll and Mr. Hyde’. The novel explored the duality of man in a culture that divided private and public life with, again, soci‐ "&./) (*'2"'-*'$) &1#*6G1) .') 6'";</.%'"4) <*-*') that unleashes one man’s darker side. Jump ahead 127 years to 2013 and we as a culture $""F)&*)("/"E#.&")3(-*'./) psychopathic serial killers for doing what we can’t. But why do we watch them? One could surmise &1.&)%&U$)+*#)&1")L"//b(#.M"4) drama and the character studies, but you could say that about any $1*LH))B)E"/%"2")&1.&A).$)<#"2%*6$/0)F"'-*'A)L")L.&(1)*6&)*+).')%'&"#‐ est in the darker side of humanity, driven by the fact that the various @%//"#$)E#".@)$*(%"&./)(*'2"'-*'$)&1.&)L")4*'U&)4.#")E#".@A).'4)&1") 4#.F.-()&"'$%*'H))51")F"'&./)1"./&1).$<"(&)%$)<#*E.E/0)/*L"#)*')&1") list, if anything. We watch ‘Dexter’ to see if he’ll somehow falter and accidentally let his secret slip, showing his dark side to those who consider him a friend. (Note: I’ve only seen through season three.) The underlying 4.#@'"$$).'4)46./%&0)*+)16F.'%&0)%$)";("//"'&/0)4%$</.0"4)%')&1")-&/") $"Y6"'("Z)T";&"#)`7%(1."/)WH)J.//a)G*"$)&1#*6G1)1%$)F*#'%'G)#*6-'") L1%/") $.2*#%'G) &1") /%8/") 4.#@) F*F"'&$) *+) $/%(%'G) .'4) +#0%'G) F".&A) ".-'G) .) $6''0) $%4") 6<) "GGA) $/%(%'G) .'4) D6%(%'G) .) E/**4) *#.'G"A) .'4) -G1&"'%'G)S*$$).'4)1%$)$1*"/.("$).$)%+)&1"0).#")G.##*&"$H))J%&(1(*(@U$) <#"2%*6$/0).//64"4)&*)%4".)*+)4#.F.-()&"'$%*')%$)"2"#)<#"$"'&A).$)&1") audience knows from the outright that Dexter is a serial killer who +""/$)/%8/")"F*-*')0"&)F.$@$)%&)E0)E"%'G)(16FF0)L%&1)1%$)(*L*#@"#$) .'4) F.%'&.%'%'G) #"/.-*'$1%<$) L%&1) f%&.A) 1%$) G%#/+#%"'4A) .'4) T"EA) 1%$)

foul‐mouthed sister, all the while avoiding the long arm of the law, #"<#"$"'&"4)E0)>"#G".'&)T*.@"$)%')&1")3#$&)&L*)$".$*'$H We watch ‘Bates Motel’, despite its mediocrity (Note: I’ve only $""')&1")3#$&)&L*)"<%$*4"$aA)&*)$"")L1.&)F"$$"4)6<)Q*#F.')V.&"$) (Freddie Highmore) and caused him to dress up in his mother’s clothes and kill female motel patrons, which serves as Hitchcock’s -(@%'G)E*FEH))51").64%"'(")@'*L$)1*L)1")&6#'$)*6&)%')&1")"'4A)E6&) at this point in the show, I’m wondering if it’s even necessary. Frankly, F0)F.%')%$$6")L%&1)&1")$1*LA)-(@%'G)E*FE)'*'")L%&1$&.'4%'GA)%$)&1") (*'&#.$-'G)"#.$Z)&1")V.&"$)+.F%/0)$""F$)"'$(*'("4)%')&1")F%4b&*b/.&") ijtl$A)D64G%'G)+#*F)&1")+.$1%*')$"'$%E%/%-"$A)&1")$"<%.d46//)(*/*#)<./‐ ate, and the presence of a turntable, while the surrounding town is 2"#0)F6(1).)F*4"#')&*L'H))51")$1*LA)1*L"2"#A)$"#2"$).$).)<#"Y6"/) &*) &1") "2"'&$) *+) h!$0(1*U) .'4) &1") $"Y6"/$A) $*) &1") F*4"#') $"K'G) &1#*L$)*\)2%"L"#$A)F0$"/+)%'(/64"4A)L1*)L"#")";<"(-'G)F*#")*+).) pre‐‘Psycho’ period feel. R")L.&(1)hJ.''%E./U)&*)<.#-.//0)$"")&1")%'&"#.(-*'$)*+)J.''%E./) (Mads Mikkelsen) and Will Graham (Hugh Dancy) before the events of hf"4)T#.G*'U).'4)<.#-.//0)&*)$"")1*L)J.''%E./)F.$@$)1%$)(.''%E./%$-() $%4") L1%/") F.%'&.%'%'G) 1%$) (./F) 0"&) (./(6/.-'G) <$0(1%.&#%$&) ";&"#%*#H)) 51")+*(6$)*+)&1")$1*LA)1*L"2"#A)%$'U&)"'-#"/0)*')J.''%E./A)"2"')%+)&1") -&/") $1.#"$) 1%$) '.F"$.@"H)) Instead, the audience is G"K'G)F*#")%'&*)&1")F%'4) of Will Graham, a criminal psychologist who has a way *+)G"K'G)%'&*)&1")F%'4$)*+) serial killers, with Hannibal working in the back‐ ground. Assuming that most viewers are already familiar with the Hannibal F0&1*$A)J%&(1(*(@U$)-(@%'G) bomb here is Hannibal’s already present and evi‐ 4"'&) (.''%E./%$-() '.&6#"A) which is one of the princi‐ ples that Bryan Fuller, the $1*L#6''"#A)%$)*<"#.-'G)*'H))f"G.#4/"$$)*+)%&$)F*4"#'%C.-*'A)L1%(1) B)+""/)L*#@$)E"8"#)+*#)hJ.''%E./U)&1.')%&)4*"$)+*#)hV.&"$)7*&"/UA).'4) gender role reversal to balance out the cast, there is an eerie air and <#*46(-*')$&0/")&1.&)<"#2.4"$)&1")$1*L).'4)1.$)(*'$&.'&/0)/"M)F") L.'-'G)F*#"A)%'(/64%'G)T#H)="(&"#U$)$6%&$).'4)*s(")/%E#.#0H All in all, Dexter Morgan has been killing those who escaped D6$-(")+*#)$"2"')$".$*'$A)&1.'@$)&*).)F*#./).'4)"&1%(./)(*4")%'$-//"4) E0) 1%$) .4*<-2") (*<) +.&1"#A) L1%/") $"#2%'G) &1") 7%.F%bT.4") !*/%(") T"<.#&F"'&) .$) .) E/**4) $<.8"#) .'./0$&A) .'4) J.''%E./) ="(&"#) .'4) Norman Bates have returned to the silver screen in television series &1.&)$"#2").$)<#"Y6"/$)&*)&1"%#)#"$<"(-2")+#.'(1%$"$H)):2"')&1")L#%&"#) of ‘Scream’ created a show about a Poe‐obsessed former English <#*+"$$*#b&6#'"4b$"#%./) @%//"#) L%&1) .) /*0./) +*//*L%'G) *+) (6/-$&$) `h51") ,*//*L%'GUaH))V6&)4*)L")L.&(1)&1"F)L""@).M"#)L""@)*6&)*+)+.$(%'.‐ -*'A)*#)%$)%&).)(*'$&.'&)4"/2%'G)%'&*)&1")4.#@"#)'.&6#")*+)16F.'%&0})) BU2")*\"#"4)F0)&L*)("'&$A).'4)BU//)/".2")&1")#"$&)6<)&*)0*6H))V*').<<•‐ -&A)W/.#%("^

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Entertainment Y6:!7%K$N!$H

The Private Eye #1 2,*27%1A#1*H%11.1(#<.7

Polarity #1 2,*27%1A#1*H%11.1(#<.7

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_)!<1%oG%n<#24<1%!"%<%N$)A%I#"A% :<1%*<>$*AG%%'^$)%$1=!12%4!"%>4)$$% "$<"61%)#1%H!>4%mJ6">ZF%n<#24<1%)$R >#)1$=%>6%>4$%76:!7%I668%"7$1$%H!>4% 4!"%":<"4%4!>%m5<2<ZF%761>!1#$=%H)!>R !12%C6)%>$*$N!"!61%H!>4%>4$%#(76:!12% <=<(><>!61%6C%5>$(4$1%o!12Z"%mp1=$)% >4$%?6:$ZF%<1=%4<"%16H%7)$<>$=%<% 1$H%76:!7%I668%7<**$=%m0$%D)!N<>$% iA$Z%<*612"!=$%<H<)=RH!11!12%<)>!">% ]<)76"%]<)>!1G ‘The Private Eye’ takes place in a future where the United States no longer uses the internet and privacy is worshipped, almost to the point where everyone has a secret iden‐ -&0H) ) B') <.#-(6/.#) V#%.') rH) _.6G1.') +.$1%*'A) 1")4#.L$)0*6)%')L%&1)%'&"#"$-'G)(1.#.(&"#$A) L%80) 4%./*GA) .'4) .) +.$(%'.-'G) $&*#0H) ) R1.&) 1.<<"'$)'";&}))R1"#")4%4).//)*+)&1%$)%4"'-&0b cloaking technology come from? Why did people stop using the internet? The goal of .)(*F%(U$)3#$&)%$$6")%$)&*)1**@)&1")#".4"#).'4) Vaughan has mastered it. ?$)+*#)&1").#&A)7.#(*$)7.#-')&.@"$).42.'‐ tage of the all‐digital format by going with a 1*#%C*'&./) /.0*6&) *<<*$"4) &*) &1") &#.4%-*'./) 2"#-(./)/.0*6&A).//*L%'G)1%F)&*)(#".&")E".6‐ -+6/) /.'4$(.<"$) *+) &1") (%&0U$) <*$&F*4"#') $(%b3b/%@")$@0/%'"H))J%$)%F.G%'G)*+)<*$&b%'&"#'"&) ?F"#%(.)%$)+.$(%'.-'G).'4)1%G1/0b(#".-2"A).$)

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each character has their own style and per‐ $*'./%&0H) ) ?((*F<.'0%'G) 7.#-'U$) +.'&.$-() art is Muntsa Vicente, an incredible colorist who really brings the city and it’s inhabitants to life with her colorful and vivid choice of colors. But perhaps what makes this book truly awesome is the fact that Brian K. Vaughan, notoriously known for his lack of online pres‐ "'("A) 1.$) F.4") .') "\*#&) &*) (*'&#.$&) &1") $&*#0U$).'-b%'&"#'"&)$&.'(")E0)F.@%'G)%&)4%G%‐ tally available at a name‐your‐own price rate, much like BandCamp. Within hours of its /.6'(1A)_.6G1.').'4)7.#-'U$)!.0!./).((*6'&) had crashed due to the surprisingly generous amount people were willing to buy this book at. Whether or not you think that digital com‐ ics are going to be the downfall of physical (*F%($).'4)&#.4")<.<"#E.(@$A)4"3'%&"/0)G%2") h51") !#%2.&") :0"U) .) &#0) .&) 18<Zdd<.'"/$0'4%‐ cate.com/.

h!*/.#%&0U) %$) 3#$&) .'4) +*#"F*$&) .') %'&"#‐ "$-'G)&.@")*')&1")F*4"#')$6<"#1"#*Z)?M"#) .) 4"2.$&.-'G) E%<*/.#) "<%$*4"A) 5%FA) .') .#&‐ ist from Brooklyn, discovers that he gains superpowers whenever he stops taking his F"4%(.-*'H) ) ?M"#) .) '%G1&) *+) E%'G") 4#%'@%'G) .'4) <.%'-'GA) 5%F) $**') 3'4$) *6&) &1.&) 1") %$) E"%'G)L.&(1"4).'4)G*"$)*').)F%$$%*')&*)3'4) out who is watching him. Those familiar with V"F%$U)F6$%()L%//)@'*L)&1.&)&1%$)$&*#0)%$)D6$&) another one of his exaggerated personal sto‐ ries. Naturally, the topic of depression and E%<*/.#) 4%$*#4"#) (.') E") .) &*6(10) $6ED"(&A) but Max navigates around it with ease and familiarity. ?$)+*#)&1").#&A).#-$&)I*#G")W*"/1*).'4)(*/‐ orist Felipe Sobreiro compliment the dark .'4) ""#%") &*'"$) *+) 7.;U$) L#%-'G) L%&1) .') "Y6.//0)(#""<0).#&)$&0/"H))5L*)%F.G"$)$<#%'G)&*) mind when showcasing the awesome art for h!*/.#%&0UA) &1") 3#$&) E"%'G) .) &L*b<.G") $<#".4) that shows everything spiraling towards the center of the page as Tim descends into mad‐ ness. The second is an extremely graphic image of a man’s head exploding as Tim 1".4E68$)1%F)%'&*)*E/%2%*'H Although the the book itself is on a lit‐ tle on the expensive side, every issue of ‘Polarity’ comes with one of Max’s songs, so %&)+""/$)/%@")0*6U#")G"K'G)0*6#)F*'"0U$)L*#&1) +*#)&1")€eHjj)<#%(")&.GH))B+)0*6U#")-#"4)*+)&1") superhero genre but are looking for some refreshing, do yourself a favor and check out ‘Polarity’ #1.

Entertainment ]6N!$%Y*#I

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"'4%'GA)L1"')<"#1.<$).)F*#")#"./%$-()*'") L*6/4)1.2")E""')E"8"#H AN: Agreed. Without ever seriously talking to his mother or anyone at his school, Daniel $6<<*$"4/0)$*/2"$).//)1%$)<#*E/"F$)E0)E".-'G) the bullies individually at a big karate tourna‐ ment. However, despite the former bullies’ (#%"$)*+)OX*6U#").//)#%G1&A)=.#6$$*^PA)%&)$""F$) implausible that their opinion of him has I.%)J791>3*:79G*0#5.*%1A*45,&&%*6%+#7& $1%M"4)$*)Y6%(@/0)b)"2"')%+)&1"0)4%4)(*F")&*) #"./%C")&1.&)&1"%#)@.#.&")&".(1"#)L.$)("#-3.E/0) (#.C0H)q'+*#&6'.&"/0A)&1")@%4$)+".&6#"4)%')hV6//0U) didn’t all get happy endings. EC: I think that would be an understate‐ ment, Alyssa. Take the story of Alex, who is <#*F%'"'&/0)+".&6#"4)%')&1")3/FH)J"#")%$).)@%4) who is constantly bullied on his way to and from school, with other kids even going so far .$)&*)$&.E)1%F)L%&1)&1"%#)<"'(%/$H)51")3/FF.@‐ "#$A)#"(*G'%C%'G)&1")4.'G"#)&*)?/";U$)/%+"A)$1*L) the footage to school administrators, and what do they do? They not only bring in Alex’s family and tell them, to their face, that not only are the kids Alex’s bus “angels”, but that even if he is moved to another bus, his safety would not E")G6.#.'&""4H)B).F)$-//)&#0%'G)&*)3G6#")*6&)%+) &1%$).$$%$&.'&)<#%'(%<./)%$)D6$&)%'(*F<"&"'&)*#)%+) $1")D6$&)4*"$'U&)(.#").E*6&)1"#)D*EH AN:)g'")<*$$%E/")";</.'.-*')%$)&1.&)?==) the administrators featured honestly don’t know how to handle these kids. The assistant principal at Alex’s school talks to the students as though they were small children incapable *+)(*FF6'%(.-'G)*').').46/&)/"2"/A).'4)&1") ./&"#'.-2")&*)4"./%'G)L%&1)1"#)%$)&*)&./@)&*) 56'%#"1)7+1(%(89 As this is a Movie Club, &1")(.F<6$)<*/%(")*s("#H)51"#"U$)'*)G**4) .2%&)+13:#")*%##)6'&&%/#;):'(.+%()&6'%#"1&)'() E./.'("^)51").4F%'%$&#.-*')$<".@$).$)&1*6G1) .2")<'$%"&=)+&).2"1")+1")/'-(>).')/")%(?>"6.2) the bullies don’t understand what was wrong >%&:-&&%'(&)'@).2").2"<"&=)1"@"1"(:"&=)6#'.=) .E*6&)&1"%#).(-*'$)L1%/")&1")2%(-F$).#")#"<#%‐ +(>):2+1+:."1&4))A'-)2+$")/""()*+1(">9 manded for not going to an adult sooner. EC: It is hard to agree that the administra‐ EC:)B)&1%'@)&1")3#$&)&1%'G)&1.&)'""4$)&*)E") tors don’t know what they are doing when you $.%4).E*6&)&1"$")&L*)3/F$)%$)&1.&)./&1*6G1) remind yourself that there is video evidence they both have the themes of bullying in of what is happening to Alex presented to &1"FA)h51")r.#.&")r%4UA)D6$-3.E/0A)&.@"$)F*#") her. Even if she is the worst assistant principal *+).)J*//0L**4).<<#*.(1)&*)&1")$6ED"(&)&1.') %')&1")L*#/4A)$1")%$)$-//).)16F.')E"%'GA).'4) hV6//0UH)>6#<#%$%'G/0A)0*6)L%//)'*&)3'4)*'")*/4) human compassion should lead you to help L%$")F.')%')hV6//0U)L1*)D6$&)@'*L$)L1.&)%$) someone who is being physically abused by happening without ever asking the kid and removing the problem, one way or the other. who teaches the kid how to be a booty‐kicking I agree, though, that there is really no good F.(1%'"H)h51")r.#.&")r%4U)1.$).)F*#")G/*#%3"4) E./.'(")&*)&1")$%&6.-*'A).'4)&1"#")%$)#".//0)

no one way to help everyone involved in the $%&6.-*').&)*'("H)V"&L""')&1")2%(-F).'4)&1") E6//0)&1*6G1A)&1")2%(-F)$1*6/4)E")&1")<#%*#%&0A) and it doesn’t seem like that is the case for F6(1)*+)&1")3/FH AN: One of the things that truly infuri‐ ated me was the case of 14‐year‐old Jamaya, arrested for bringing a gun onto the school bus .M"#)F*'&1$)*+)E"%'G)E6//%"4H)?)<*/%(")*s(%./) went on record saying there was absolutely, 6'"Y6%2*(.//0)'*)#".$*')";("<&).)&1#".&)&*)1"#) life that would excuse Jamaya’s behavior. I’m not saying that violence is the answer (unlike the implied moral of ‘Karate Kid’) but verbal .E6$")(.')&.@")D6$&).$)F6(1)*+).)&*//).$)<10$%‐ cal abuse. EC: ?G#""4H)51.&)<*%'&)%$)*'/0).F</%3"4) E0)&L*)*&1"#)$&*#%"$)%')&1")3/F).E*6&)0*6'G) men who took their own lives because of the .E6$"A)'*&)D6$&)<10$%(./A)E6&)2"#E./).'4)F"'&./) as well, that they had to endure for years. It is ludicrous to believe that physical abuse is the only type of abuse that is damaging to people. We all have our breaking points, and it is not .)(#%F")&*)3'.//0)#".(1)%&A)"$<"(%.//0)%+)0*6) feel as if you have explored every other available avenue. AN: So in the absence of Mr. Miyagi and his +#"")@.#.&")/"$$*'$A)L"U#")/"M)&*).$@)*6#$"/2"$) $*F")&*6G1)Y6"$-*'$H)J*L)4*)L")#"<.%#) &1%$)E#*@"'b4*L')(*FF6'%(.-*')E"&L""') students, teachers, and parents? What are we doing wrong that kids are asking how they can avoid being bullied rather than knowing they should treat each other with respect? I have a +""/%'G)OR.;)g'A)R.;)g\P)D6$&)%$'U&)G*%'G)&*) cut it. 51.'@)0*6)+*#)D*%'%'G)6$)+*#)&1%$)"4%-*')*+) 51")?'G/"#3$1)7*2%")W/6E^)Q";&)F*'&1A)&1") movies will be: BC+1$";D)EFGHIJ)+(>)BK-/;)56+1L&D)EMIFMJ N")&-1").'):'(3(-").')&"(>)%();'-1)!*"".&) +(>)!-</#1)+&L&)+/'-.).2")<'$%"&)+(>);'-) <+;)/")@"+.-1">)%().2")("O.)+13:#"4))P(3#) ("O.)3<"=)2+66;)$%"*%(89

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The Road to Peace 2,*0#55..1*O##A 0$%?$:67)<>!7%K$(#I*!7%6C%Y6126% 4<"%I$$1%!1%(6*!>!7<*%H<)C<)$%C6)%A$<)"F% I#>%)$7$1>%">)!=$"%>6H<)="%($<7$%4<N$% 2!N$1%>4$%76#1>)A%1$H%46($G !".(") %$) '*&) .(1%"2"4) %') *'") $%K'GH) ,*#) &1*$") %') &1") T"F*(#.-() f"<6E/%() *+) W*'G*A) or the DRC, this rings especially true with the "2"'&$) *+) &1") <.$&) +"L) F*'&1$H) ?M"#) 0".#$) of warfare, violence, and confusion, peace $""F$)&*)E")%')$%G1&)+*#)&1")3#$&)-F"H 51") T"F*(#.-() f"<6E/%() *+) W*'G*) 1.$) spent the past twenty years in turmoil. In 1994, a civil war between the Hutu and Tutsi, &1") F.D*#) "&1'%() G#*6<$) *+) fL.'4.A) E#*@") *6&H)51%$)3G1-'G)L.$)<6$1"4)%'&*)&1")'"%G1‐ boring country of the DRC where Congolese #"E"/$) D*%'"4) &1"$") fL.'4.') 3G1&"#$H) B') 1997, they overthrew the ruler of the DRC at &1")-F"A)7*E6&6)>"$")>"@*H):2"').M"#)&1%$) (*6<A)1*L"2"#A)3G1-'G)(*'-'6"4H)fL.'4.') forces eventually withdrew from the DRC, /".2%'G) F.'0) .(-2") W*'G*/"$") #"E"/$) .'4) F%/%-.) G#*6<$) %') &1") (*6'&#0H) B') olljA) .') agreement was signed to incorporate a mili‐ -.)G#*6<)(.//"4)&1")WQT!A)%'&*)&1")W*'G*/"$") '.-*'./) .#F"4) +*#("$H) ?$) -F") <.$$"4A) .) small group within the CNDP felt the terms of the agreement were not being honored and rebelled, calling themselves M23 – a refer‐ ence to the day the agreement was signed,

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March 23, 2009. They formed in early 2012, and have since gained an enormous amount of power in the DRC. Since then, M23 cap‐ tured many towns in the country, such as Rutshuru and the important city of Goma. 7oeU$)3G1-'G).'4)&#.%'%'G)1.$)E""')$6<‐ <*#&"4) &1#*6G1) F.'0) 4%\"#"'&) F".'$A) &1") most prevalent being the mining and selling of the country’s rich mineral resources like (*/&.'A)L1%(1)%$)"$$"'-./)+*#)&1")<#*46(-*') *+) F*E%/") 4"2%("$H) 51") 1.#2"$-'G) *+) &1"$") minerals has not been accomplished through (*'2"'-*'./) F".'$) $6(1) .$) F%'%'G) E6&) instead by taking it through force from others who have mined it. The violence M23 used to $"(6#")+6'4%'GA)./*'G)L%&1)&1"%#)(*'-'6*6$) 3G1-'GA)1.$)F.4")%&).)<.#-(6/.#/0)4.'G"#*6$) -F")&*)E")/%2%'G)%')&1")TfWH)?M"#)&1")(.<&6#") *+)N*F.).&)&1")"'4)*+)olioA)&1")7oe)F%/%-.) looked like it had a serious chance of taking over the country. At the end of February, though, a chance for the violence to cease surfaced. The United Q.-*'$) '"G*-.&"4) .) <".(") &#".&0) E"&L""') &1")7oe).'4)&1")TfW)%').').8"F<&)&*)"'4) the rebellion. In March, the UN announced plans to send 2,000 troops to the Congo in hope that this force could help bolster the treaty signing last month. The troops would D*%')&1")olAlll)*&1"#$)&1.&).#")./#".40)&1"#"H) 51").44%-*'./)oAlll)L%//)E")$"'&)%')I6/0H

B&) 1.$) E""') .) /*'G) D*6#'"0) +*#) &1*$") %') the DRC, but with these recent strides and G#".&"#).8"'-*')+#*F)&1")L*#/4)+*(6$%'G)*') &1%$)$%&6.-*'A)1*<"+6//0)&1")D*6#'"0)L%//)"'4) soon in peace. Though a treaty and increased UN presence is not a promise, it is a hope. ?'4)$*F"-F"$)&1.&)%$)"'*6G1)&*)"'.(&)#"./) change.

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O'Y#+.,!"#$+%E#',-'Z#.7&=(+#.'[)+(#.%-=! QH6%A$<)"%<^$)%:$$>!12%E641F%@% 761>$:(*<>$%46H%>4$%k$)=324>!12% (!*2)!:<2$%4<"%74<12$=%<1=%4<"% "><A$=%>4$%"<:$G 2,*0#55..1*O##A In April of 2011, I made the great Q"#43G1&"#)<%/G#%F.G")&*)F""&)I*1')N#""'H) It was the spring semester of my freshman year at Indiana University and I was newly %'46(&"4) %'&*) Q"#43G1&"#%.H)B)1.4)$&6FE/"4) upon one of John’s videos in October of 2010 and, like many people, said, “Hey, this guy wrote An Abundance of Katherines? I loved &1.&) E**@^) B$) &1%$) L1.&) 1"U$) 4*%'G) '*L}P) B) had no idea that there was a large following surrounding the Green brothers, and that it was only going to get bigger. B&) L.$) &1") !/.%'3"/4A) B'4%.'.) G.&1"#‐ %'GH) B) $-//) #"F"FE"#) +#".@%'G) *6&) *2"#) &1") fact that John was coming to visit a library *'/0) .') 1*6#) .L.0) +#*F) F"H) ?M"#) 1".#%'G) the announcement from John, I posted my freak‐out on the Facebook wall of my fellow Q"#43G1&"#) +#%"'4A) >.#.1H) >1") 1.4) .(&6.//0) E""').)Q"#43G1&"#)E.(@)%')".#/0)ollyA)L1"') it really was a niche group of a couple hun‐ dred people. We both freaked out at the idea *+) F""-'G) *'") *+) *6#) %4*/$A) .'4) $<"'&) &1") next two weeks making arrangements to go. R")/"M)+*#)&1")G.&1"#%'G)#%G1&).M"#)>.#.1)

got out of class. We knew that we would have to get there early if we wanted good seats, and when we arrived we found a spot in the back of the room. The room was kept at a Y6%"&)E6CCA)"2"#0*'")L.%-'G)+*#)&1")F*F"'&) when John would burst through the door. 51")/%E#.#%.'$)F.4").)Y6%(@).''*6'("F"'&A) and then John came through the aisle, his /"M) 3$&) <6F<"4) .'4) 1%$) /.<&*<) *<"') %') &1") *&1"#H)J")L.$)E#*.4(.$-'G)&1")G.&1"#%'G[)1") /"M)&1")/.<&*<)%').)E*0)'.F")W.F"#*'U$)/.<H John spent about an hour talking about a lot of things, but primarily the idea of %4*/%C.-*').'4)1%$)`.&)&1")-F"a)$**'b&*bE"b published novel about a girl with cancer. He L.$)G"K'G)#".40)&*)/".2")+*#)?F$&"#4.F)+*#) a few months, and you could see the stress in 1%$)<6\H)B&)L.$)$*)L"%#4)&*)$"")&1%$)G60)&1.&) I had been watching for the past six months, #"./).'4)F*#")&1.')D6$&).)+*6#)%'(1)$Y6.#"H ?M"#) .') 1*6#) *+) &./@%'GA) I*1') L.%&"4) behind a desk to sign books. Sarah brought her art book since she had no copies of John’s books on hand. I had brought a copy of Looking for Alaska, my favorite book of his. B) L%//) '"2"#) +*#G"&) 1*LA) .M"#) 1") $%G'"4) *6#) books, Sarah and I got into the elevator to get *6&)*+)&1")E6%/4%'G).'4)&1"')D6F<"4)6<).'4) 4*L'A) $Y6"./%'GH) R") $F%/"4) &1") L1*/") L.0) home. ?M"#) &1") <.$&) &1#"") 0".#$) &1.&) BU2") E""') %'2*/2"4) %') Q"#43G1&"#%.A) &1") (*FF6'%&0) has grown so rapidly I don’t know if John L%//) "2"#) 1.2") .) G.&1"#%'G) /%@") &1") !/.%'3"/4) *'"H)B&)L.$)$-//)$F.//A)$-//)%'-F.&"H)?M"#)&1") Carnegie Hall gathering, I remember marvel‐ ing at how big the whole show was and how 4%\"#"'&)%&)L.$)+#*F)F0)";<"#%"'("H)B)1.4'U&) #"./%C"4) 6'-/) &1"') 1*L) F6(1) Q"#43G1&"#%.) had grown within the past three years. I am a E%&)$.4).&)&1%$)#"./%C.-*'A)&1.&)&1")$F.//)G.&1‐ "#%'G$)/%@")!/.%'3"/4)F%G1&)E").)&1%'G)*+)&1") past. Things like that are an inevitable trade‐ *\A) &1*6G1A) L1"') .) (*FF6'%&0) G#*L$) E0) 16G")'6FE"#$H)J*L"2"#)D6$&)E"(.6$")$*F"‐ &1%'G)%$)E%GG"#)4*"$'U&)F".'$)%&U$)/"$$)G#".&[) %&U$)D6$&)4%\"#"'&H)

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Power Readers Invade BEA i<74%A$<)F%>46#"<1="%6C%(#I*!"4$)"F%*!I)<)!<1"F%I668"$**$)"% <1=%<#>46)"%=$"7$1=%#(61%k$H%q6)8%Y!>A%C6)%_668%iM(6% ':$)!7<%c_i'fF%>4$%*<)2$">%(#I*!"4!12%C<!)%$N$1>%!1%k6)>4% ':$)!7<G%h4<>%H<"%617$%<1%!1=#">)AR61*A%$N$1>%!"%16H% 6($1%>6%>4$%(#I*!7P%!1%+,-.F%<N!=%I668%C<1"%816H1%<"%D6H$)% K$<=$)"%7<1%(#)74<"$%>!78$>"%>6%<O$1=%_i'G%9$)$Z"%46HG% 2,3*D.7.A9)(*H%+./ ,*#)E**@)'"#4$A)%&)F.0)D6$&)E")1".2"')*')".#&1Z)&1")E6CC)*+)2*%("$) &./@%'G)<.$$%*'.&"/0).E*6&).)$<"(%3()</*&)<*%'&A)&1")&1#%//)*+)F""-'G) .)+.2*#%&").6&1*#)+*#)&1")3#$&)-F"A)&1")";(%&"F"'&)&1.&)(*F"$)+#*F) .8"'4%'G) .) <.'"/) .'4) /".#'%'G) $*F"&1%'G) '"LA) .'4A) *+) (*6#$"A) &1") books. Lots and lots of books, piled in stacks, towering over every‐ thing. This is Book Expo America. Commonly known as BEA, Book Expo America is the largest .''6./)E**@)+.%#)%')&1")q'%&"4)>&.&"$H)!.#&)";1%E%-*').'4)<.#&)(*'+"#‐ ence, BEA highlights the best upcoming books, convenes panels and workshops on the trends and developments in publishing, and gives

authors the chance to meet the people responsible for selling their E**@$H)51*6G1)&#.4%-*'.//0)%'&"'4"4)+*#)<6E/%$1%'G)%'46$&#0)%'$%4"#$A) BEA has expanded its reach in recent years. Everyone from teachers .'4)/%E#.#%.'$)&*)E**@)E/*GG"#$).'4)%'4"<"'4"'&)E**@$"//"#$).8"'4) the four‐day event. And this year, BEA will also include regular book‐ loving readers like you and me. ) ,*#) &1") 3#$&) -F"A) V:?) olie) %$) *<"') &*) &1") G"'"#./) <6E/%(H) ?2%4) E**@) +.'$) L%//) E") .E/") &*) <6#(1.$") .) O!*L"#) f".4"#$P) -(@"&) +*#) >.&6#4.0A) I6'") iA) olieH) 51%$) -(@"&) L%//) G"&) 0*6) .(("$$) &*) &1") +6//) exhibit hall, the BEA Power Reader Lounge and the Author Stages, L1"#").6&1*#$)L%//)4%$(6$$)&1"%#)E**@$).'4).'$L"#)Y6"$-*'$H)!*L"#) f".4"#$) L%//) ./$*) E") .E/") &*) <6#(1.$") -(@"&$) &*) &1") >.&6#4.0) ?46/&) Book & Author Breakfast. Best of all, you’ll be able to snag advanced (*<%"$)*+)$*F")*+)&1")1*8"$&)E**@$)E"%'G)<6E/%$1"4)&1%$)$6FF"#).'4) fall, long before they appear in a bookstore. )V:?)olie)L%//)E")1"/4).&)&1")I.2%&$)W*'2"'-*')W"'&"#)%')Q"L)X*#@) W%&0)+#*F)7.0)oj)‚)I6'")iA)olieH)51")(*'2"'-*')%$)*<"')&*)&1")G"'‐ "#./) <6E/%() *') >.&6#4.0) I6'") i$&A) .'4) !*L"#) f".4"#) -(@"&$) (.') E") purchased on the BEA website.

If you’re a Power Reader thinking about attending BEA this year, here are some things to keep in mind: Buy your ticket(s) ahead of time

Orient Yourself

!*L"#)f".4"#)-(@"&$)F6$&)E")<6#(1.$"4)&1#*6G1)&1")V:?)L"E$%&"H) B+)0*6)$1*L)6<)*')I6'")i$&)&1%'@%'G)0*6U//)E").E/")&*)E60).)-(@"&).&) the door, you’ll end up disappointed. There are special discounts for Power Reader groups of three or more.

B+)0*6U2")'"2"#)E""')&*)&1")I.2%&$)W*'2"'-*')W"'&"#)E"+*#"A)%&)F%G1&) $""F)*2"#L1"/F%'GH)q$")&1")S**#)</.')+#*F)&1")V:?)L"E$%&")&*) 1"/<)*#%"'&)0*6#$"/+)L1"')0*6)3#$&).##%2"H)X*6)(.')./$*)4*L'/*.4)&1") BEA Mobile app for your phone.

Comfort over style

Divide and Conquer

51")I.2%&$)W*'2"'-*')W"'&"#)%$)/.#G").'4)0*6U//)E")4*%'G).)/*&)*+) walking. Make sure to wear comfortable shoes and clothing. Bring .)$L".&"#)*#)D.(@"&)&*)/.0"#A)D6$&)%')(.$"H)51*6G1)%&)F.0)E")L.#F) outside, the AC can make it cold inside.

Browse the BEA website to see which authors and publishers will be in the exhibit hall on Saturday. Make a note of when and where your favorite authors will be so you can plan accordingly. BEA’s website "2"')*\"#$).)+#"")>1*L)!/.''"#)&*)1"/<)0*6)F.'.G")0*6#)-F"H

BYO Snacks

Power Up

Food is available for purchase inside the Javits, but it’s expensive. Save yourself some money by bringing granola bars, nuts, fruit and *&1"#)".$%/0)<*#&.E/")'*'b<"#%$1.E/")$'.(@$H)?'4A)+*#)&1.&)F.8"#•

Of course you’re going to want to tweet, tumbl and live‐blog your experience at BEA, so remember to bring chargers for your electronics. There’s nothing worse than going to snap a picture with 0*6#)+.2*#%&").6&1*#A)*'/0)&*)1.2")&1")E.8"#0)4%"H

BYO Water Bottle 51"#"U$)'*)#".$*')&*)<.0)€o)*#)F*#")+*#).)E*8/")*+)L.&"#H)V#%'G).) #"3//.E/")(*'&.%'"#).'4)6$")&1")(*'2"'-*')("'&"#U$)L.&"#)+*6'&.%'$) to stay hydrated.

Follow – and Have Fun ,*//*L)V:?)*')5L%8"#)`]V**@:;<*?F"#%(.a)+*#)&1")/.&"$&)'"L$).'4) 6<4.&"$H)?'4)4*'U&)+*#G"&)&*)"'D*0)&1")";<"#%"'("^

www.bookexpoamerica.com www.twitter.com/BookExpoAmerica ++%%0$%'12*$)3"4%/%!""#$%&%'()!*%+,-.%%

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?$)&1")%'&"#'"&U$)<#"$"'(")%')4.%/0)/%+")(*'-'6"$)&*)G#*LA)%$$6"$) .#%$")&1.&)$*F"-F"$)'""4)&*)E").44#"$$"4)E0).)E*40)*+)/"G%$/.-*'H) Think I’m talking about media piracy? That’s part of it, but I'm also &./@%'G) .E*6&) 1*L) &1") q>) W*'$-&6-*') (.') E") 6$"4) &*) 4"&"#F%'") whether your blog is admissible as evidence in a criminal court. BuF) &./@%'G) .E*6&) .8.(@$) *') G*2"#'F"'&) '"&L*#@$) .'4) L1.&) $&"<$) $1*6/4) E") .//*L"4) &*) <#*&"(&) &1"FH) B&u$) '*&) D6$&) &1") q'%&"4) >&.&"$) ‐‐ countries are dealing with these issues worldwide

K-&&%+ B').').8"F<&)&*)<#"2"'&)&""')$6%(%4"A)(1%/4)<*#'*G#.<10A).'4)4#6G) use, the Russian government has been making use of a law passed last November which allows them to restrict access to content they 4""F)1.#F+6/)&*)(1%/4#"'H)51"$").(-*'$).#")&.#G"&"4)F*$&/0).&)$*(%./) F"4%.)$%&"$)$6(1).$),.("E**@A)5L%8"#A).'4)X*656E"A)L1%(1)`L%&1)&1") ";("<-*') *+) X*656E"a) 1.2") *\"#"4) /%8/") #"$%$&.'("H) g<<*'"'&$) *+) &1") /.L) L*##0) &1.&) &1"$") .(-*'$) .#") &1") 3#$&) $&"<) &*L.#4) E#*.4) Internet censorship by the government. In a world where freedom *+)$<""(1)$1*6/4)'"2"#)E")&.@"')+*#)G#.'&"4A)"2"')L"//b%'&"'-*'"4) censorship should be taken with a grain of salt.

="G%$/.&*#$).#")(6##"'&/0).8"F<-'G)&*).F"'4)WB>!?)%'&*).)F*#") "\"(-2").'4)F*#")L%4"/0).(("<&"4)$&.&"H)51")E6/@)*+)&1"$")(1.'G"$) are related to securing individuals’ privacy. The purpose of the bill is to eliminate some of the obstacles companies and government .G"'(%"$)+.(")L1"').8"F<-'G)&*)$1.#")4.&.)#"/.&"4)&*)(0E"#).8.(@$H) There are proposed amendments that would guarantee a good bal‐ ance between this and ensuring that no one’s privacy is encroached

*'H) ?F*'G) &1"$") .#") F".$6#"$) &*) #"F*2") <"#$*'.//0) %4"'-3.E/") %'+*#F.-*')$6(1).$)"F.%/).44#"$$"$).'4)<1*'")'6FE"#$)E"+*#")&1") data is passed to the government. President Obama is on record as $.0%'G) &1.&) $*F") /"G%$/.-2") F".$6#") '""4) &*) E") &.@"') &*) %'(#".$") cybersecurity for users in the US, and the best way to ensure that $6(1)/"G%$/.-*')4*"$)'*&)&1#".&"')<#%2.(0)*#)+#"")$<""(1)%$)+*#)6$"#$) F6$&)<.0).8"'-*')&*)4"2"/*<F"'&$)$6(1).$)&1"$"H What’s going on in your neck of the internet? What does that F".')+*#)6$"#$})="&)6$)@'*L)*')*6#)&6FE/#)*#)&L%8"#^)

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\-+(%-:)G*#'>43)-%+5 @1%*!24>%6C%>4$%)$7$1>%$N$1>"%6C%5>$#I$1N!**$%<1=%Q6))!12>61F%)<($%7#*>#)$% 4<"%I$$1%>4)6H1%!1>6%>4$%"(6>*!24>%!1%<%H<A%>4<>%!>%4<"F%(6""!I*AF%1$N$)%I$$1% >4)6H1%!1>6%I$C6)$G%h4<>%:<8$"%!>%"#74%<1%!:(6)><1>%!""#$g By: Eric Cole I was browsing through my recommended videos list on YouTube one Saturday when I saw one that catches my eye. It depicted a young woman passed out on a couch. I clicked on the link and began the watch. The young woman was, indeed, lying on the couch, and it appeared as if she was passed out. Quite suddenly, a young man appeared and made 1%$)L.0)*2"#)&*)1"#H)51"'A).)D6F<)(6&A).'4HHH) the young man covered the girl with a blan‐ ket, put a pillow under her head, and places a wastebasket next to her. He did the right thing, and at the end of the video he held a sign signifying this exact thought. Sadly, I found it refreshing to see. Then, I scrolled through the comments of the video, and I saw that I am not the only one. Comment .M"#) (*FF"'&A) B) #".4) <"*</") <#.%$%'G) &1%$) young man, applauding him for providing a good message to send to other youths, some people even going as far as to say that this young man deserves a medal. A medal for doing the right thing? For doing something &1.&) $1*6/4) E") 4*'"A) L%&1*6&) Y6"$-*'A) E0) every young man who runs into this situ‐ .-*'H) ?) F"4./) +*#) E"%'G) .) 4"("'&) 16F.') E"%'GH)B&)L.$)%')&1.&)F*F"'&)&1.&)B)#"./%C"4) D6$&)1*L)+.#)*6#)$*(%"&0)1.$)+.//"'H If you do a Google Search, you will be .E/") &*) 3'4) &1") *#%G%'$) *+) &1") <1#.$") O#.<") culture.” You will learn about how it is an environment in which rape is not only preva‐ lent, but it is also expected and excused in the media and in society. You will learn about 1*L)O#.<")(6/&6#"P)%'(/64"$)$6(1).(-*'$).$) E/.F%'G) &1") 2%(-F) +*#) L1.&) 1.<<"'"4) &*) &1"FA) &#%2%./%C%'G) &1") #.<") $*) &1.&) %&) F".'$) nothing, and teaching women to avoid get‐ -'G) #.<"4) %'$&".4) *+) &".(1%'G) F"') '*&) &*) #.<"H) 51%$) %$) .//) G**4) %'+*#F.-*') &*) @'*LA) .$) L%&1) &1%$) %'+*#F.-*') L") (.'A) <"#1.<$A) start to educate people about the issue. J*L"2"#A)#"(*G'%C%'G)&1.&)&1"#")%$).)<#*E/"F) %$)*'/0)<.#&)*+)&1")$*/6-*'H)51")#"./)(6#%*$‐ %&0)*+)&1")$%&6.-*')%$)&1%$Z)L1"')4%4)L"A).$).) society, decide that rape is something to be defended rather than to be condemned? Anyone who watched coverage on the Steubenville case will no doubt remem‐ E"#) WQQU$) (*2"#.G") *+) &1") .M"#F.&1H) 51"0) 4"(%4"4)&1.&)%F<*#&.'&)Y6"$-*'$)&*)<*'4"#)

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L"#")*'"$)/%@")OJ*L)L%//)&1%$).\"(&)&1")0*6'G) men’s lives?” and “Do you think they will ever be able to recover from this?”, instead *+).$@%'GA)OJ*L)%$)&1")2%(-F}P)J*L"2"#A)&1%$) is only part of the problem. Anyone who read comments on the Steubenville stories will no doubt know the other half of the story. When did it become acceptable for people &*)D64G").)L*F.')+*#)L1.&)$1")L".#$A)1*L) $1")$<"'4$)1"#)-F"A)*#)1"#)F"'&./)$&.&").&) &1")-F")*#)#.<"})R1"')4%4)L*#4$)$6(1).$) “slut” and “whore” become acceptable in "2"#04.0) (*'2"#$.-*'}) R1"#") 4%4) L") G*) wrong as a society? The easy thing to do would be to blame a public face who contributed to this mess we are in. I think of Mike Tyson, and how in 1991 he was convicted of raping an 18 year old beauty pageant contestant. He spent &1#"") 0".#$) %') D.%/) +*#) &1.&) (#%F"A) .'4) L1.&) happened when he was released? He went back to boxing, made millions, and seem‐ ingly became a bigger star than he ever was.

This man is a convicted rapist, and yet he is now a movie star thanks to ‘The Hangover’. It E*GG/"$)&1")F%'4)&1.&)1")L.$).E/")&*)E"8"#) 1%$)/%+").M"#)1%$)(#%F"H However, that is the easy answer to a very (*F</%(.&"4)Y6"$-*'H)51")#"./%&0)*+)&1")$%&6‐ .-*')%$)&1.&))&1%$)%4".))*+).)4*6E/")$&.'4.#4) for women and men, when it comes to sex, has been around for as long as society has ";%$&"4H)B&)%$).)'%(")'*-*')&*)E"/%"2")&1.&)%') the 21st century we have moved beyond this .#(1.%() '*-*'A) E6&) .$) &1") (6##"'&) #.<") (6/‐ &6#")$1*L$A)&1.&)%$)+.#)+#*F)&1")&#6&1H)R")$-//) 1.2")&*)3G1&)&1")3G1&).G.%'$&)'*-*'$)$6(1).$) O>1").$@"4)+*#)%&^P).'4)OV*0$)L%//)E")E*0$^P) J*L)L")L%')&1%$)3G1&)F%G1&)E").)Y6"$-*')+*#) .'*&1"#).#-(/"H)51")%F<*#&.'&)&1%'G)&*)#"./‐ %C")&1*6G1A)+*#)'*LA)%$)&1.&)&1"#")%$).)<#*E/"F) in our society, and the sooner we all recog‐ '%C") &1.&A) &1") +.$&"#) L") (.') F*2") &*L.#4) 4%$(*2"#%'G).)$*/6-*')&*)%&H)

Science _)<!1"%!1%5(<7$e

Three Pounds of Matter

The Search for a Second Earth 0$%Qi55%H!**%"$<)74%C6)%$M6(*<1$>"% "!:!*<)%!1%"!U$%>6%i<)>4G +,*FJ&)91*;C%1

D)$"!=$1>%LI<:<%)$7$1>*A%()6(6"$=% >4$%_K'@k%@1!>!<>!N$F%<%()6S$7>%<!:$=% <>%:<((!12%>4$%4#:<1%I)<!1%!1%<%1$H% <1=%=$><!*$=%H<AG%5!:!*<)%>6%()$N!R 6#"%"7!$1>!37%N$1>#)$"%c"#74%<"%>4$% 9#:<1%T$16:$%D)6S$7>fF%>4$%_K'@k% @1!>!<>!N$%76#*=%4$*(%"7!$1>!">"%*$<)1% :6)$%<I6#>%46H%!1=!N!=#<*%I)<!1%7$**"% H6)8%<1=%6($)<>$F%=$N$*6(%:6)$%"6R (4!">!7<>$=%>$7416*62!$"F%<1=%(6""!I*A% 31=%>)$<>:$1>"%<1=%7#)$"%C6)%I)<!1R )$*<>$=%=!"$<"$"%<1=%=!"6)=$)"G 2,*D.7.A9)(*H%+./ It’s the control center of the human body. It tells our arms and legs how to move, lets 6$) @'*L) L1"') L"U#") 16'G#0) *#) -#"4) .'4) *((.$%*'.//0A) .'4) &"//$) 6$) L1"') &*) 3G1&) ‚) *#) S""H)51")16F.')E#.%')4%(&.&"$)"2"#0).$<"(&) *+)*6#)/%+").'4)0"&)&1"#")%$)$-//)$*)F6(1).E*6&) it that remains unknown. President Obama is hoping to change that with his recently .''*6'("4)Vf?BQ)B'%-.-2"H The BRAIN (Brain Research through ?42.'(%'G) B''*2.-2") Q"6#*&"(1'*/*G%"$a) B'%-.-2") L*6/4) F.<) &1") 16F.') E#.%') %') ";.(-'G) .'4) 6'<#"("4"'&"4) 4"&.%/H) 51") results would give doctors and scien‐ -$&$) .) E"8"#) L.0) &*) $&640) (*'4%-*'$) /%@") ?/C1"%F"#U$A) .6-$FA) "<%/"<$0A) .'4) F"'&./) illness. President Obama asked Congress to $<"'4)€ill)F%//%*')&*)$&.#&)&1")<#*D"(&H 51")Vf?BQ)B'%-.-2")%$)2"#0)$%F%/.#)%')%'&"'&) and design to the recent Human Genome !#*D"(&).'4)&1"):QWgT:)!#*D"(&H)51*$")2"'‐ &6#"$)`$"Y6"'(%'G)&1")"'-#")16F.')G"'*F") and determining which parts of DNA are bio‐ /*G%(.//0) .(-2"A) #"$<"(-2"/0a) E*&1) $&.#&"4) L%&1) $F.//"#) %'%-./) %'2"$&F"'&$) .$) L"//) .'4) extended over the course of several years. ?$).)#"$6/&A)E*&1)<#*D"(&$)(*'-'6")&*)<#*2%4") #"&6#'$) *') &1"%#) %'%-./) %'2"$&F"'&$A) 1"/<‐ %'G) &1") "(*'*F0) .'4) $<6##%'G) %''*2.-*'H) President Obama’s proposal will hopefully do

&1")$.F")E0)(#".-'G)D*E$).'4)+6#&1"#%'G)$(%‐ "'-3()#"$".#(1H B') .44%-*') &*) &1") Vf?BQ) B'%-.-2"U$) "(*‐ '*F%()E"'"3&$A)&1")<#*D"(&)L*6/4)4"&.%/)&1") ill)E%//%*')("//$).'4)(*''"(-*'$)%')&1")E#.%'H) This would also help develop and advance new technologies that would record the E#.%'U$) "/"(&#%(./) .(-2%&0) .'4) (*F</";) '"6‐ ral circuits. Current brain‐scanning devices /%@")7fB$).'4)::N$)$&640)&1").(-2%&0)*+)/.#G") $"(-*'$)*+)&1")E#.%'H)51%$)'"L)<#*D"(&)L*6/4) .%F) &*) $&640) &1") .(-2%&0) *+) %'4%2%46./) E#.%') ("//$).'4)&1")-'0)(*''"(-*'$)&1.&)/%'@)&1"F) together. If successful, these new technolo‐ gies could help pinpoint the precise cause *+)("#&.%')E#.%')+6'(-*'$).'4)4%$*#4"#$H)51") results could mean huge leaps forward in how doctors treat neurological and psychiat‐ #%()4%$".$"$H)?M"#).//A)$.0$)T.2%4),%&C<.&#%(@A) $(%"'-3() 4%#"(&*#) .'4) W:g) *+) &1") 7.;) !/.'(@) ,/*#%4.) B'$-&6&") +*#) Q"6#*$(%"'("A) Oq/-F.&"/0A)0*6)(.'U&)3;)%&)%+)0*6)4*'U&)@'*L) how it works.” Though the exact end goal of the BRAIN B'%-.-2") %$) $-//) 6'(/".#A) &1") <#*D"(&) 1.$) earned praise from neurologists and brain $(%"'-$&$) .(#*$$) &1") (*6'&#0H) 51") <#*<*$"4) $100 million investment would be split E"&L""') &1") Q.-*'./) B'$-&6&"$) *+) J"./&1A) &1") T"+"'$") ?42.'("4) f"$".#(1) !#*D"(&$) ?G"'(0).'4)&1")Q.-*'./)>(%"'("),*6'4.-*'H) A working group at the NIH will start by developing a list of proposed goals and a long‐term plan for achieving them. President Obama has also asked private research com‐ <.'%"$).'4)6'%2"#$%-"$)&*)$6<<*#&)&1")+"4"#./) .G"'(%"$)L*#@%'G)*')&1")<#*D"(&H In his announcement, President Obama explained his proposal as the next logical $&"<) +*#) $(%"'("H) OR") (.') $&640) <.#-(/"$) $F.//"#) &1.') .') .&*FA) E6&) L") $-//) 1.2"'U&) unlocked the mystery of the three pounds of F.8"#)&1.&)$%&$)E"&L""')*6#)".#$AP)1")$.%4H) 51")Vf?BQ)B'%-.-2")%$)&1")3#$&)$&"<)&*L.#4$) changing that.

?M"#) &1#"") 0".#$) *+) (*F<"--*'A) Q?>?) 1.$) (1*$"') &1") 5#.'$%-'G) :;*</.'"&) >6#2"0) >.&"//%&")`5:>>a)<#*D"(&).&)7B5)+*#).)</.''"4) launch in 2017. Funded by a $200 million grant to the MIT‐led team, it was announced &1%$).M"#'**'H N"*#G")f%(@"#A).)$"'%*#)#"$".#(1) $(%"'-$&) .&) 7B5U$) r.2/%) B'$-&6&") +*#) ?$&#*<10$%($) .'4) ><.(") f"$".#(1A) L%//) /".4) &1") <#*D"(&H) q$%'G) .').##.0)*+)L%4"b3"/4)(.F"#.$A)&1")&".F)L%//) <"#+*#F).)$6#2"0)*+)&1")$@0)&*)3'4)&#.'$%-'G) ";*</.'"&$)*#E%-'G)&1")E#%G1&"$&)$&.#$)%')&1") $6'U$)<#*;%F%&0)%')$%C"$)#.'G%'G)+#*F)&1.&)*+) Earth to those of gas giants. “TESS will carry *6&) &1") 3#$&) $<.("bE*#'") .//b$@0) &#.'$%&) $6#‐ 2"0A) (*2"#%'G) kll) -F"$) .$) F6(1) $@0) .$) .'0) <#"2%*6$)F%$$%*'AP)f%(@"#)$.0$H)OB&)L%//)%4"'-+0) thousands of new planets in the solar neigh‐ borhood, with a special focus on planets (*F<.#.E/")%')$%C")&*)&1"):.#&1HP Previous sky surveys with Earth‐based telescopes have generally only picked out G%.'&)";*</.'"&$[)+*#)%'$&.'("A)Q?>?U$)r"</"#) $<.("(#.M) 1.$) +*6'4) F.'0) $F.//) ";*</.'‐ ets, but the stars Kepler examines are faint .'4)2"#0)4%s(6/&)&*)$&640H)5:>>A)%')(*'&#.$&A) will examine a large number of small plan‐ ets around the brightest stars in the sky. Further, it will be possible to study the mass, $%C"A)4"'$%&0A)*#E%&A).'4).&F*$<1"#")*+).'0)*+) the exoplanets it studies, paving the way for +6&6#")<#*D"(&$H !"#1.<$)&1")F*$&)";(%-'G)&1%'GA)1*L"2"#A) %$) &1") %F</%(.-*'$) 5:>>) 1.$) +*#) >:5BA) *#) &1") search for extraterrestrial intelligence. Sara Seager, an associate professor physics of MIT, has noted that “the selection of TESS has D6$&) .(("/"#.&"4) *6#) (1.'("$) *+) +%'4%'G) life on another planet within the next decade.”

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Art and Literature k$)=324>$)%"#I:!""!61"

O.%#*2!'8,.*7 Chapter 1 54$Z=%<*H<A"%I$%"!O!12%#(%<>%>4$% C66>%6C%>4$%I$=F%4$)%*$2"%#(%<1=%4$)% <):"%>!24>*A%4#22!12%4$)%81$$"%<"%!C% "4$%H$)$%C$$*!12%76*=F%$N$1%>46#24% !>%H<"1Z>G%0$%H<):%)$=%2*6H%6C%>4$% *!O*$%1!24>*!24>%C6):$=%=$$(F%=!((!12% "4<=6H"%<7)6""%4$)%C<7$a%76*6#)$=%!1% >4$%>$M>#)$%6C%>4$%76O61%(AS<:<"%"4$% <*H<A"%H6)$G 2,*459*Q%,%%1 The night felt warm, and safe, and comfort‐ .E/"A)&1")L.0)%&)./L.0$)4%4[)&1")#**F)1.4).) drowsy, sleepy sort of feel, as you’d expect from a closed place with almost no windows *').)E./F0)'%G1&H)51").%#)L.$)$-//).'4)1".20) %').)L.0)&1.&)E#*6G1&)&*)F%'4)&1")$-//'"$$) before rain broke in a thunderstorm, when you don’t really feel hot but the air feels &1%(@A)6'F*2%'GH)>*F"-F"$)B)L*'4"#"4)%+A) %')&1*$")F*F"'&$).M"#)BU4)/*(@)&1")4**#)&*) my bedroom and fumble in the total dark‐ ness for the switch of the nightlight, the #**F)E"(.F")$*F")/%8/")</.(")*+)F.G%([)%+) &1")*6&$%4")L*#/4)4%$.<<".#"4).'4)&1%$)/%8/") $Y6.#")L.$)$6$<"'4"4)$*F"1*LA)./*'")%') some universe between universes. B)L.$)$%K'G)*')&1")E"4).$)L"//A)E0)&1") pillows. ‘How was school?’, she asked. I smiled. ‘The usual. I don’t even know why you bother asking.’ She looked down at her knees, seeming a /%8/")"FE.##.$$"4H hJ*L)L.$)$(1**/)+*#)0*6}UA)B).$@"4).M"#) a while. She looked up at me. ‘You know. The usual.’ ‘Don’t be so shy’, I said. ‘We’ve known ".(1)*&1"#)+*#).G"$)'*LH)R"U2")$<"'&)<#"80) much every night up here for like months now. There’s no reason to be shy.’ ‘Look who’s talking’, she said archly. ‘You say you can’t even talk to girls at school.’ h51.&U$)4%\"#"'&HU ‘It’s really not.’ She laughed. She was &1")&0<")*+)G%#/)L1*U4)$""F)#".//0)Y6%"&) and wouldn’t talk much, but once they got started they’d tease you mercilessly in &1")$.F")Y6%"&A)-F%4)&*'")&1.&)L.$)2"#0) incongruous. ‘I’m the only one who ever makes fun of you. I should be the one lecturing you, actually. To stop being so

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$"#%*6$).//)&1")-F"HU ‘I’m not’, I said. ‘Are too.’ hBUF)D6$&).)/%8/")'"#2*6$UA)B)$1*&)E.(@H hR10}U)>1")/.6G1"4).G.%'H)hTU0*6)$-//) think I’m a ghost?’ — 51")3#$&)-F")B)$.L)1"#)B)1.4)&1*6G1&)$1") was a ghost. It’s a funny story. I’d walked into my bedroom and locked the door, fumbled for the switch amid the &*&./)4.#@'"$$).'4)&6#'"4)*')&1")/%8/")#"4) nightlight as I sat down on my bed, to see 1"#)&1"#"A)$%K'G)L1"#")B)@'*L)'*L)%$)L1"#") $1")./L.0$)$.&A)%')1"#)<0D.F.$).&)&1")+**&) of the bed. I’d started, but some part of me knew somehow that there was no reason to freak out, that nothing was wrong. She’d looked over at me sleepily and smiled with &1")@%'4)*+).F6$"4A).(("<-'G)$F%/")0*6)G%2") .)$644"').<<.#%-*')%').)4#".FH I’d slumped further into the headrest and smiled back uncertainly. ‘What’s your name?’ she asked. I told her. ‘What’s yours?’ ‘Lindsay’, she said. h51.&U$)+6''0•U ‘Why?’ ‘You look a lot like this girl from TV’, I told her. ‘Dark hair, blue eyes, the works. I had the biggest crush on her. She’s also a Lindsay.’ She smirked. ‘Maybe that’s me, in the future. Maybe you showed up in my dream from the future to let me know I’m going to be a big celebrity.’ ‘I’m not from the future’, I said, and $*F"1*L)&1%$)(*'2"#$.-*').(&6.//0)$""F"4) '*#F./).&)&1")-F"H)hg#).&)/".$&A)B)4%4'U&) &#.2"/)&1#*6G1)-F")%').'0)L.0H)BUF)$-//)%') my present. Maybe you’re from the past and there was some kind of glitch that F.4")$<.("b-F")E6'4/")6<).)/%8/").'4)*6#) -F"+#.F"$)%'&"#$"(&)+*#).)/%8/")L1%/"HU ‘Wait’, she said. ‘What year are you living in?’ ‘2011. You?’ holii•U)J"#)2*%(")&#.%/"4)*\H)hg@.0A)G6"$$) that’s not me on TV, then. Too bad. And G6"$$)0*6U#")'*&).)-F"b&#.2"//"#HU ‘Okay’, I said. She yawned. ‘I’m sleepy. I think I’ll go back to sleep now. Goodbye and good luck, dream friend.’ hB)$1*6/4)&**UA)B)$.%4A).'4)&6#'"4)*\)&1") light.

I’d decided that it was a dream by next F*#'%'GH)BU4)L*@"')6<).'4)F0)4**#)L.$)$-//) locked, my room the same as it’d always been. My family lived downstairs. There was '*)L.0).)#"./)<"#$*')(*6/4)1.2")G*8"')%')*#) out of my house. But once again that night, I locked the door to my empty bedroom and turned on the nightlight, and there she was, $%K'G)6<).G.%'$&)&1")L.//).&)&1")+**&)*+)&1") bed. >1")/**@"4)$6#<#%$"4)&1%$)-F"H)hB&U$)0*6) .G.%'Û)>1")$&.#"4).&)F")+*#).)F*F"'&A)&1"') looked relieved. ‘Oh, of course this is some sort of rather "/.E*#.&").'4)#"<"--2")4#".FH)51.&U$)&1") only way to explain it.’ ‘Oh my God, if my own dreams are beginning to get self‐aware that’s the creepiest thing ever‐‘ h="&U$)D6$&)<%'(1)*6#$"/2"$)&1"'UA)$1")$.%4H) ‘I mean myself.’ We looked at each other nervously and did. ‘It hurt for me.’ ‘Yeah, it did for me too’, she said. ‘So I’m not dreaming and you’re real and actually here. I know I should be totally freaking out at a guy being in my room‐‘ ‘This is my)#**FÛ ‘What’d you mean, your room?’ she said. ‘This is my room. My bed, my desk, my Beatles posters. My nightlight.’ ‘I live here’, I said. ‘This is my room. In F0)1*6$"H)B)D6$&)1.4)4%''"#)4*L'$&.%#$)*'/0) a while ago. I was doing homework in this same room earlier in the evening. I put 6<)&1*$")<*$&"#$)L1"')B)F*2"4)1"#"Û)B) stopped. ‘Wait. I know what’s happened. Did you ever see that movie, the one where there’s like this family that lives in a house .'4)"2"#0)'%G1&)&1"0)1".#)$&6\).'4)&1"0) think the house is haunted, but it turns out that actually they)D6$&)1.4'U&)@'*L').//) along and kept on thinking they were living in the house but actually they were the ghosts? That’s what’s happening, you think this is your‐‘ ‘Are you saying I’m a ghost?’ she interrupted. ‘What? Are you insane? Do I look like a ghost to you?’ ‘That’s what they thought too’, I told her gently. She picked up a pillow and hit me on the head. hgLÛ She laughed. ‘Corporeal enough for you now?’ cont…

Art and k$)=324>$)%"#I:!""!61" Literature ‘Okay, okay’, I said. ‘You’re not a ghost.’ ‘And since that pillow didn’t go right through you when I hit you with it, neither are you’, she said. ‘So there’s a guy in my room‐‘ I opened my mouth, then decided not to say anything. ‘But somehow I don’t feel any panic. It’s like somehow some part of me knows that there’s no reason to freak out, that it’s nothing to worry about. It’s like a dream that L.0HU)>1")S.$1"4)F").)/**@H)hBUF)$*##0A)BUF) $-//)<#*E.E/0)&./@%'G)&*)0*6)/%@")0*6).#"'U&) real. It’ll take a while for my head to really get used to the idea.’ ‘But how did you get here?’ hB)D6$&)L"'&)%'&*)F0)E"4#**F).'4)/*(@"4) the door and sat down at the foot of the bed, and when I open my eyes, there you were.’

show, it’s sort of like a reality show.’ ‘Like a what?’ I gaped at her. ‘You don’t know what reality shows are? What rock have you been living under the past decade?’ ‘I haven’t’, she said. ‘I watch loads of TV and I’ve never seen any of those.’ ‘You’re not living on this Earth, are you?’ hg+)(*6#$")B).FUA)$1")$.%4)%F<.-"'&/0A) &1"')1"#)+.(")S6$1"4)L%&1)$644"') comprehension. ‘Wait, wait. I get it. We’re somehow, you know, we’re not actually from the same world. We’re both from Earth .'4)$&6\)E6&)%&U$)$-//).)4%\"#"'&)L*#/4H)?'4) somehow through some glitch we ended up seeing each other here.’ — And as we’d talked about how we got here, L"U4)3G6#"4)*6&)&1.&)&1%$)L.$)E*&1)*6#) rooms, somehow. Our houses, our neighbourhoods, everything outside our #**F$)L"#")4%\"#"'&)+*#)&1")E*&1)*+)6$H) B)/.6G1"4H)hQ*)B)4*'U&^)B)@'*L)0*6U#")#"./H)B+) Where I lived was a suburban area, with you recall, you hit me on the head to prove trees lining the roads and shinier, newer that you had corporeal form. That made houses in neat rows. I lived in a large, rather me !"#$% certain.’ white house, and went upstairs to my room. ‘I’m sorry.’ She giggled. ‘It was a really stupid She lived in a more urban neighbourhood, idea.’ with older, smaller houses and a much ‘It made sense in context’, I said, greyer tone to the place. But somehow defensive. ‘We didn’t know enough details when we both went upstairs, the ten by E.(@)&1"')&*).(&6.//0)F.@").'0)E"8"#) &"')$<.(")%'$%4")L.$)$*F"1*L)%4"'-(./)%') theories.’ whichever worlds the two of us lived in. We ‘But we do now’, she said. ‘We know had the same bed and the same posters, the enough to put the pieces together.’ $.F")'%G1&/%G1&).'4)&1")$.F")-'0)L%'4*L) L1%(1)L.$)<#.(-(.//0)<*%'&/"$$H — W/".#/0)L")L"#")+#*F)&L*)4%\"#"'&)L*#/4$A) It had been over two weeks where we’d kept and this room was a place where both were on seeing each other every night. When I’d $*F"1*L)%4"'-(./H)R1"#")&1"0)(*%'(%4"4H) close the bedroom and turn the nightlight Maybe there were hundreds of other such *'A)$1"U4)E")&1"#")%')F0)#**F[)*#A).$)L") /*(.-*'$).//).#*6'4)&1")L*#/4)&**A)/%8/") pieced together, I’d be there in hers. $<*&$)L1%(1)#"F.%'"4)%4"'-(./).'4)L"#") R"U4)$/*L/0)G*8"')+.F%/%.#)L%&1)".(1) windows in some way to another universe. other, the sort of familiarity that you’d Or maybe this was the only one in both our expect being thrust into a common worlds. strangeness to create. At least it gave us We’d both go into our rooms and turn $*F"&1%'G)%')(*FF*')+*#)6$)&*)$&.#&)*\A).'4) on our nightlights in the darkness, and we’d 1.2%'G).)G*./b)3G6#%'G)*6&)L1.&)L.$)G*%'G) both be there, in my‐her‐our room. And *'b)@"<&)(*'2"#$.-*')+#*F)E"(*F%'G)&1") L1"')L"U4)&6#')*\)&1")/%G1&)L"U4)$*F"1*L) kind of awkward silences I knew too well. go back to our own worlds, alone in our own I could tell she probably wasn’t the most bedrooms. social back in school, wherever it was that R")&./@"4).&)3#$&).E*6&)*6#)#"$<"(-2") she went, either. worlds, said almost nothing about ourselves. R"U4)D*@").E*6&)L1%(1)*+)*6#)L*#/4$)L"#") Talking brought with it regular surprises, at E"8"#b)1"#$)4%4'U&)1.2")#"./%&0)5_A)L1%(1) 3#$&H)X*6)4*'U&)"2"#)#".//0)#"./%C")D6$&)1*L) was a huge plus for hers, but ours had F6(1)*+)4.%/0)(*'2"#$.-*')%$)#"+"#"'("$)&*) Tumblr and Lenka Kripac, so that evened (6##"'&)"2"'&$)*#)<*<)(6/&6#")6'-/)0*6U#") out. It seemed that mine and hers shared talking to someone who knows literally a common history somewhere. We’d both nothing about any of it. had the world wars, we’d both had Elvis She’d been curious to know more about and the Beatles. It seemed our worlds this other girl Lindsay, so I told her. ‘This 1.$)4%2"#G"4)$*F"L1"#")%')&1")$%;-"$)*#)

Chapter 2

$"2"'-"$A).'4)L"#")Y6%&")4%\"#"'&)'*LH) Maybe there had been one universe running along and it had somehow split into two like the fraying end of a rope, like an unravelling 4*6E/")1"/%;A)+*#&0)*#)3M0)0".#$).G*H)7.0E") the world did that a lot, and the original universe of thousands of years ago had split %'&*)&L*)/%@").)$""4)<6K'G)*6&)#**&$).$)%&) grew, diverging every few decades into an alternate reality. Or maybe we were two (*F</"&"/0)4%\"#"'&)6'%2"#$"$)+#*F)&1")$&.#&) %').)F6/-2"#$")3//"4)L%&1).')%'3'%&")'6FE"#) *+)6'%2"#$"$A).'4)%')%'3'%&0)&1"#")1.<<"'"4) to be two worlds that had been so similar except for recent events. ‘Or maybe’, she said, ‘it’s like in physics. The idea that every moment, every decision, (#".&"$).)'"L)&1#".4)*+)$<.("b-F"A).'4) somewhere amid the trillions of almost‐ overlapping but invisible alternate universes there’d be one where each and every decision you or anyone else has made was &.@"')4%\"#"'&/0A).'4)%&)E#.'(1"4)*\)%'&*).) new world. Maybe we were the products *+)&L*)4%\"#"'&)E#.'(1"$)%')$*F")1%$&*#0) of the world, some decision someone L"U//)'"2"#)@'*L)&**@).#*6'4)&1")$%;-"$H) Maybe something completely innocuous, like someone stepping out of his house a F%'6&")&**)".#/0A).'4)&1")/%8/")G6$&)*+)L%'4) from his door launched a hurricane in the 7%4bR"$&)L1%(1)(.6$"4)$*F")/%8/")@%4)&*) G*)&*).)4%\"#"'&)$(1**/).'4)G#*L)6<)&*)E").) !#"$%4"'&)*#)'*&).)<#"$%4"'&A)*#)$*F")/%8/") thing like that.’ ‘We have that same theory in physics in *6#)L*#/4)&**UA)B)$.%4H)hB&U$)(.//"4)&1")V68"#S0) :\"(&H)B')(1.*$)&1"*#0HU hR")(.//)%&)$&.-()$&64%"$H)51")V68"#S0) :\"(&)%$)$6(1).')*44/0)<*"-()'.F")+*#) $*F"&1%'G)$(%"'-3(H)R10)%$)%&)(.//"4)&1.&}U B)";</.%'"4)%&)&*)1"#H)hB&U$)<#"80)F6(1)";.(&/0) L1.&)0*6)$.%4UA)B)3'%$1"4H >1")/.6G1"4A).)/%8/")4#0)/.6G1H)hR1*) would have ever thought I’d be discussing physics with a guy? That’s something I never saw coming.’ ‘Who would’ve thought I’d ever be discussing anything with a girl, period? Let alone in my bedroom?’ ‘It’s m‐‘ she started, and stopped $644"'/0H)hg1)0".1A)&#6"•U ‘I get the feeling we have a lot more in common than we know’, I said. ‘Maybe coincidence‐ hg#)+.&"UA)$1")E68"4)%'H)hB)&1%'@)%').) $%&6.-*')/%@")&1%$)L"U#")"'-&/"4)&*)D6$&)$.0) this is how fate decided things.’ ‘Or fate’, I went on. ‘Whatever it was, it was kind enough to make sure the person we randomly happened on like this was someone with whom we had a lot in common. And. Well. You’ve cont…

!""#$%&%'()!*%+,-.%/%0$%'12*$)3"4%%+X

Art and Literature k$)=324>$)%"#I:!""!61" told me about the appearance of your neighbourhood and where you go to school .'4).//)&1.&)$&6\H)B)@'*L).)/*&).E*6&)0*6#) L*#/4)'*LH)V6&)B)4*'U&)@'*L)<#"80)F6(1) anything about you.’ ‘But where do I start?’ ‘Start anywhere’, I told her. ‘Tell me about school. Tell me about your home life. Tell me .E*6&)&1")$&6\)0*6)/%@"HU

B&)(*'-'6"4)./F*$&)"2"#0)'%G1&H)R"U4)E*&1) wolf down our dinners and go nervously upstairs, we’d lock the doors and fumble in the darkness for the switch, and the burst of dim red light would push away the darkness of our day, or our lives. My heart would always start wildly the moment the thin crack of light disappeared as I closed the door shut and darkness fell, so hard I wondered if she could hear it from wherever between dimensions we were before the $L%&(1)S%<<"4H I always talked really calmly when I was ‘Yeah we do’, I said blandly. ‘We know all nervous, and I’d always greet her in the about everything. Sort of.’ steadiest of voices. And then we’d slowly hX".1•UA)$1")$.%4H L.#F)6<)%'&*)(*'2"#$.-*'A).'4)L"U4)&./@) 51").%#)L.$)$-//)$%/"'(")+*#).)F*F"'&H) +*#).G"$H)51")3#$&)+"L)4.0$)L")4%4'U&)1.2") B)+"/&).)$644"')E6#$&)*+)"F*-*'A).)#%$%'G) much to talk about, then one night we +""/%'G)*+)6#G"'(0A).')./F*$&)+#6$&#.-*'H #"./%C"4)L")+"/&)(*F+*#&.E/")"'*6G1).#*6'4) ‘Why’re we talking like this? Why’re we ".(1)*&1"#)%')&1")4%F)'%G1&).'4)$-//)L.#F&1) &./@%'G)$*)E/.'4/0A)/%@")L")D6$&)1.<<"'"4) to talk about anything. So we talked about across each other in the mall and were ourselves, things we never talked about or 1.2%'G).)/%8/")$F.//)&./@)E"+*#")L")L"'&)E.(@) got to talk about or could talk about with to whatever we’d been doing?’ anyone else. h>*F"-F"$)B)$"").//)&1"$")#".//0)E".6-+6/) — girls, and I see how they always have $*F"*'")&*)G%2")&1"F).\"(-*').'4)1.'G) We stayed up for hours that night, talking. *\)&1"FUA)$1")&*/4)F"H)h?'4)./L.0$)$*F"*'") She told me about school, that she was who’ll love them. I know it’s easy for us to $&640%'G)$(%"'("A)&1.&)$1")L.$)<#"80)F6(1).) $.0)&1.&)<"*</")4*'U&)#".//0)/*2")&1*$")<#"80) loner aside from G%#/$A)%&U$)D6$&)/6$&)*#)+*#)&1"%#)/**@$A)E6&)0*6) ‘Kathy’, she said. ‘She’s like my best know something? People do. Some people friend. Sort of. I mean, she is. We sit always do. Nice guys do fall for them. In their together in all our classes and whenever I do +.'&.$%"$)&1")<"#+"(&)G%#/)%$)&1.&)E".6-+6/A) go out it’s always with her. She’s a lot more $*)&1"0)$"")$*F"*'")E".6-+6/).'4)%F.G%'") outgoing than I am, she has loads of friends them as perfect. It used to bug me. But at and she always tries to set me up with $*F")<*%'&A)B)3G6#"4)&1.&)BUF)@%'4.)G/.4)&*) people, even though I tell her I don’t really not have been. I feel like I wouldn’t really be want to.’ .E/")&*)@'*L)D6$&)1*L)$<"(%./)/*2")%$)%+) ‘Do you really like her?’ I hadn’t gone through the years feeling hJFF•U)>1")$""F"4).)/%8/")4%$(*F3&"4H) unloved. I wouldn’t take it for granted cos ‘I like her. I mean, of course I do. She’s my I’d felt the empty sense of being alone.’ best friend. I know when I talk about my life hB)&1%'@)0*6U#")E".6-+6/U)B)$.%4H it might seem like I really don’t like it much, She smiled. ‘And because when but I do, you know. I don’t really hate it. I’m you do hear a guy tell you that it’s actually <#"80)F6(1)3'")L%&1)F0)/*&)%')/%+"H)B)#.&1"#) something special. That’s worth not being like my life as it is.’ 4#*<b4".4)E".6-+6/HU hB)$""UA)B)$.%4)'*'(*FF%8.//0H We sat by each other contently for a few ‘What about yours?’ moments. ‘I don’t know’, I told her. ‘I guess I’m ‘You know what the weird thing about ./$*)<#"80).FE%2./"'&)&*L.#4$)/%+"H)B)4*'U&) me is?’ really hate it. For now it feels like some sort ‘No’, she said. ‘Do tell.’ *+)&#.'$%-*'A)&1*6G1A)B)4*'U&)+""/)/%@")BUF) ‘I’m always in love with something,’ I really&#'()*+, as something right now. I’m told her. ‘I don’t know why, but it’s how I on my way to doing this, and on my way to .FH)BUF)D6$&)&1")@%'4)*+)G60)L1*U//)./L.0$) doing that, and on my way to becoming that, E")4"$<"#.&"/0)%')/*2"H)>*F"-F"$)%&U$) nothing in my life is in terms of the now. It’s for a book, or a song, or a thought, or a .//)%')&"#F$)*+)/.&"#H)B&)F.@"$)F")+""/•) </.("H)gM"')%&U$).)G%#/H)B&U$)./L.0$)$*F"*'") rootless. Anchorless. D’you know what I unachievable. Someone who appears on TV mean?’ all the way from the USA. Someone I can ‘Sort of’, she said. ‘But not really.’ never have. I fall for anything really fast, and I fall really hard. I think I look for some kind — of magic everywhere, and life seems too mundane. So I fall in love with everything.’

Chapter 3

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>1")$F%/"4)E%8"#/0H)h51.&)F6$&)E")'%("HU ‘It’s really not’, I said. I fell for her, really fast, really hard. She was the only girl I’d ever been able to talk to. >1")L.$)E".6-+6/H)>1")L.$)#"./H)V6&)F.0E") most of all, it was the sense that it was sup‐ posed to happen. The thought that the one spot in my universe and hers which coincided would turn out to be our bedrooms, that the two <"*</")%'1.E%-'G)&1.&)*'")$<*&)L*6/4)E*&1) be late‐teens, shy, Beatles‐loving loners‐ It could’ve been any two spots. It could’ve been any two people. The romance of the $%&6.-*')/"'&)%&$"/+)&*)&1")E"/%"+)&1.&)%&)L.$) no coincidence, that it was some kind of magic. We fell for each other, really hard, really fast. I don’t know if you know but spending long hours every night alone with someone, baring your souls out in the dim light, (#".&"$).').&F*$<1"#")*+)%'-F.(0)2"#0) Y6%(@/0H):$<"(%.//0)L1"')'"%&1"#)*+)6$)#".//0) had anyone else. R")'"2"#).4F%8"4)%&A).'4)L"U4)'"2"#) "2"')$6GG"$&).&)%&)%')(*'2"#$.-*'H)V6&A).M"#) &1")3#$&)(*6</")4.0$A)+*#)L1"')L"U4)F""&) at nights, I’d always wear newer clothes when I went to bed, and she’d always $F"//)*+)$1.F<**H)?'4)L"U4)(1.8"#)./*'G) %')(*'2"#$.-*'$).'4)./L.0$)1%&)&1.&)/%8/") %'2%$%E/")E6F<A).'4)L"U4)$/*L/0)-<&*") around it, ever so politely. How people are $*)%F</%(%&)%')'*&).4F%K'G)*#)$1*L%'G)&1.&) they like each other is an eternal mystery to me. Isn’t that unspoken decision to always $@%#&).#*6'4)%&).$)G**4).$).4F%K'G)&1.&) you’re into each other? But maybe that’s part of the wonder of it, and life is made by &1*$")/%8/")&1#%//$H

I()"+#.'W Her voice was a note too high, a beat too rushed. ‘I don’t see any problem. I think we’re having a perfectly normal conversa‐ -*'HU ‘No, we’re not^UA)B)$.%4)1".&"4/0H)h?'4)0*6) know it. We both know it.’ — >*F"-F"$)%')&1")4.0-F")B)L*'4"#"4)%+) it was all a dream. Some kind of elaborate, #"<"--2")4#".FH)R1"&1"#).)4#".F)%')&1") $"'$")&1.&)%&)L.$).//)$*F")(#".-*')*+)F0) %F.G%'.-*'A)*#).)4#".F)%')&1")$"'$")&1.&) when I slept I was living in a world that did exist on some level, where she was real E6&)"2"#0&1%'G)$-//)&**@)</.(")%')*6#)1".4$A) L1%/")*6#)E*4%"$)$&.0"4)%')*6#)#"$<"(-2") E"4$H)B)$*F"-F"$)L*'4"#"4)L1.&) cont…

Art and k$)=324>$)%"#I:!""!61" Literature I’d do if I found out it was all a dream, and I #"./%C"4)&1.&)BU4)#.&1"#)@""<)*')$/""<%'G)&1.') give everything up and go back to waking. But we’d decided that it wasn’t a dream, 3G6#"4)*6&)&1.&)L")1.<<"'"4)&*)F""&)%').) /*(.-*')L1"#")*6#)*2"#/.<<%'G)6'%2"#$"$)3&) together perfectly, even though we never really knew the mechanics of the issue. Maybe it was some kind of magic that decided how we met, how we appeared and disappeared, and maybe magic was something that folded and ebbed among the F6/-2"#$"A)(/*$%'G).'4)*<"'%'G)L%'4*L$A) /%@")$*F")@%'4)*+)G*/4"'A)$"'-"'&)T6$&H)g#) maybe it was the mystery of our brains and $6E(*'$(%*6$A)&1.&)&1%'G)L1%(1)$(%"'(")$-//) @'*L$)$*)/%8/")*+b)F.0E")&1")$6E(*'$(%*6$) L.$)L1.&)F.4")&1*$")/%8/")4**#$)(/%(@)*<"'A) maybe they all interacted and interplayed *\)".(1)*&1"#)%')&1")F6/-2"#$"H)?'4)%&U4) been our mutual longing for someone like us &1.&)1.4)*<"'"4)&1%$)<.#-(6/.#)4**#H — :2"'&6.//0)L")$&*<<"4)$%K'G).&)*<<*$%&") ends of the bed and she moved up to sit by F"A)/".'%'G).G.%'$&)&1")1".4#"$&A)D6$&)E.#"/0) leaning against me as we talked. We talked 2"#0)Y6%"&/0A)$/*L/0A)/%@")L")L"#")(*'&"'&)&*) D6$&)@""<)*')&./@%'G)&*)".(1)*&1"#H ‘I’m not really close to Kathy’, she said Y6%"&/0)*'")'%G1&H)hB)F".'A)B)/%@")1"#H)V6&) we’re not like the kind of best friends that could be super close and get each other (*F</"&"/0H)R"U#")D6$&)&**)4%\"#"'&H)R") 4*'U&)/%@")F6(1)*+)&1")$.F")$&6\H)X*6)@'*L) 1*L)$*F"-F"$)&1")#".//0)<*<6/.#)G%#/)@""<$) on being best friends with their less cool childhood best friend even though they’ve &6#'"4)*6&)(*F</"&"/0)4%\"#"'&)*2"#)-F"}) And they’ll be super understanding but &1"0U//)@""<)*')&#0%'G)&*)(.D*/")0*6)%'&*) E"%'G)(**/).'4)+6').//)&1")-F"H)B)&1%'@)L"U#") D6$&)&**)4%\"#"'&)&*)E")#".//0)close.’ ‘What about me?’ I asked her. She looked up at me earnestly. ‘You know $*F"&1%'G})>*F"-F"$)B)+""/)/%@")&1")F*$&) 6'/*2"4)<"#$*')%')&1")L*#/4H)>*F"-F"$) when you feel so lonely it physically hurts .'4)0*6)4*'U&)#".//0)(.#")E6&)0*6)D6$&)L.'&) someone, anyone, to be there.’ hB)+""/)/%@")&1.&)$*F"-F"$UA)B)&*/4)1"#H)h=%@") the world is turning around me, and I feel so alone. It’s like everyone else has something or someone, and I’m here. Alone.’ She looked straight into my eyes. ‘And I don’t get why,’ she said steadily. ‘I think, I’m a good person. Someone should love me.’ ‘I do’, I said. ?)/%8/")$*F"&1%'G)S%(@"#"4)%')1"#)"0"$H) ‘Thank you. I wanted you to tell me that.’ ‘Won’t you tell me anything?’ ‘Wait’, she said. She suddenly looked

defeated, almost miserable. ‘I really should be going now, I have to wake up early. I should sleep. We’ll talk tomorrow.’ — The day barreled past. Night fell and I walked to my room, /*(@"4)&1")4**#).'4)&6#'"4)*')&1")/%8/")#"4) nightlight by the bed. And there she was. The atmosphere seemed heavy with awkwardness. ‘Hi’, I said. ‘Hi’, she answered. ‘How was today?’ ‘It was okay’, I said. ‘Yours?’ ‘The usual’, she said. R")$&.0"4)$-//).'4)/**@"4).#*6'4)&1")#**F) +*#).)L1%/"A)/"K'G)*6#)"0"$)$"8/")*').'0‐ thing but each other. >1")L.$)&1")*'")&*)(.&(1)F0)"0")3#$&A).'4) $F%/"4).)/%8/"H)B)$F%/"4)E.(@H)>1")(/.FE"#"4) over and sat where she usually sat, next to me on the bed, and rested her head on my shoulders. ‘Hey’, she said playfully. I didn’t crack a smile. ‘About last night. What were you going to say to me?’ She scowled. ‘Do we have to talk about it?’ ‘Of course )L")1.2")&*)&./@).E*6&)%&^UA)B) said hotly. ‘I told you I was in love L%&1)0*6^) And you didn’t really say anything back and I think you should say something back at least so I know, you know?’ hg@.0UA)$1")F68"#"4H ‘What’d you mean, okay?’ ‘Look, I don’t know what is right for me, okay?’ she snapped. ‘Am I in love with you? X"$^)?)lotH)=%@")(#.C0H)V6&)B)4*'U&)@'*L)%+)B) want to be. I’m not a great believer in love, I haven’t had the best experiences with‐‘ hR.%&UA)B)(6&)%'H)B)+"/&).)/%8/")4%CC0A)F0)(1"$&) constricted, all of a sudden. ‘I thought you were too shy to even talk to guys‐‘ hX"$A).'4)B).F^UA)$1")$.%4H)hV6&)L1.&U4) you expect? I could never go up and have (*'2"#$.-*'$)L%&1)<"*</")E6&)%&U$)'*&)/%@") people haven’t ever come up and had (*'2"#$.-*'$)L%&1)F").'4)E""').E/")&*) @""<)6<)(*'2"#$.-*')"2"')&1*6G1)B)$6(@).&) %&A).'4)L1"')0*6U#")/%@")3M""').'4)'*E*40) 1.$)"2"#)'*-("4)0*6)0*6U#")".$%/0)%F<#"$$"4) L1"').')*/4"#)E*0)<.0$).8"'-*')&*)0*6A) 0*6)@'*L})B)&1*6G1&)0*6)L"#")4%\"#"'&)E6&) 0*6)D64G")D6$&).$)$**').$).'0bh ‘I’m not D64G%'GUA)B)$.%4)(*/4/0H)hX*6) should’ve told me before, I mean we’ve talked for weeks and you never told me anything about that big huge aspect of your life?’ J"#)"0"$)L"#")3//%'G)6<H)hX"$A)shoot me +*#)'*&)F"'-*'%'G)$&6\)B)4*'U&)#".//0)/%@")&*) 4L"//)*')(*'$&.'&/0^):$<"(%.//0)you, you’ve

4*'")&1")$.F")&1%'GA)B)$6(@).&)(*'2"#$.-*') .'4)0*6U2")$-//)F.'.G"4)&*)&./@)&*)F") for ages on end so you know it’s perfectly possible‐‘ ‘Because I thought we were an ";("<-*'^UA)B)$.%4A)F0)2*%(")G"K'G) colder the angrier I felt. ‘And please don’t compare me to your previous‐‘ hg@.0A)B)L*'U&^UA)$1")$(#".F"4H) ‘Look, fuck you, okay? You don’t have to be an asshole cos you can’t handle the fact that D6$&)(*$)0*6)L"#").)/*$"#bh)$1")(/.<<"4)1"#) mouth shut suddenly, and the anger seemed &*)S**4)*6&)*+)1"#A)#"</.("4)E0).)/**@)*+) horror. I felt tears of anger rise to the surface and somehow that made me feel even more blinded with anger, the thought that she (*6/4)$"")&1*$"A)F*F"'&$).M"#)$1"U4)$.%4) what she said. I felt a burst of sudden feeling for her as I saw the look in her eyes but I pushed it away, and all I knew was that I wanted to hurt her as much as she had hurt me. I looked at her icily and reached across &*)&6#')&1")'%G1&/%G1&)*\)L%&1*6&)$.0%'G).) word. — The next three nights I’d go to bed and leave &1")4**#).D.#A)&1")'%G1&/%G1&)6'&*6(1"4H)B) was too angry to want to see her or want to &./@)&*)1"#A).&)3#$&H)V6&)&1")1".&)*+)&1")F*‐ ment fades soon enough and you know that pride isn’t worth losing something wonder‐ ful. — 51")F*F"'&)B)S%(@"4)&1")$L%&(1).'4)&6#'"4) around I saw her standing at the foot of the bed. We looked at each other for a moment. ‘I’m sorry’, she said. ‘I didn’t mean to call you a‐ you know. I don’t really think that "%&1"#A)B)L.$)D6$&)(*'+6$"4).'4).'G#0).'4•) you know.’ ‘Okay’, I said. She looked at me. ‘Where were you the past couple nights? I mean I get it, we both '""4"4)&*)(**/)*\).'4•U ‘I was here’, I said cruelly. ‘But I kinda had (*F<.'0A)$*•U I felt a rush of revulsion even as I saw the words, and the shocked, blank look in her "0"$)3//"4)F")L%&1).)$644"')&"'4"#'"$$)&1.&) 4%$$%<.&"4)"2"#0)/%8/")#"F'.'&)*+).'G"#)B)+"/&) and made me feel disgusted with myself. hBUF)$*##0UA)B)$.%4)Y6%(@/0A)F0)2*%(")F6(1) $*M"#)&1.')E"+*#"H)h51.&)D6$&)'*L)L.$'U&) &#6"H)B)D6$&)L.'&"4)&*)16#&)0*6)&1"#")+*#).) F*F"'&A)E6&)$""%'G)0*6•)B)(*6/4'U&)E".#)&*A) you know. I’m really sorry, it was a horrible thing to do‐‘ cont…

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Art and Literature k$)=324>$)%"#I:!""!61" hT.F')#%G1&)%&)L.$^UA)$1")$'.<<"4H ‘I’m sorry, okay? I’m sorry for that and I’m sorry for the night before and I’m sorry for not coming all these nights‐‘ h>&*<UA)$1")$.%4A)1"#)2*%(")-#"4H)hB)4*'U&) L.'&)&*)3G1&A)/"&U$)'*&)3G1&H)="&U$)+*#G"&) everything except that you told me you loved me, and I told you I loved you back. And I didn’t say anything else, and we were content with that much.’ ‘I do love you’, I said. ‘It was really hard for me to say cos I’d never said it before to anyone. But I do.’ ‘I do too’, she said. ‘Look, be there tomorrow night, okay? Just make sure you’re there.’ — The day barreled past. Night fell and I walked to my room, /*(@"4)&1")4**#).'4)&6#'"4)*')&1")/%8/")#"4) nightlight by the bed. ‘Turn around’, said a voice behind me into my ear. I did. Lindsay was on the bed behind me, $%K'G)6<)*')1"#)@'""$H)=*(@$)*+)4.#@)1.%#) fell over one of her eyes, but her hair was neatly tucked in behind her ear on the other side. Her eyes gleamed playfully, but the /%8/")$F%/")*')1"#)/%<$)L.$)";<"(&.'&).'4) almost silly, painfully self‐conscious. She was wearing a black slip that hung from narrow $&#.<$)*\)1"#)$/"'4"#A)+#"(@/"4)$1*6/4"#$H) The red light formed dipping shadows that </.0"4).(#*$$)1"#)(*//.#E*'"$A).'4)#"S"(&"4) %')1"#)"0"$A)G%2%'G)&1"F).)$*#&)*+)E/.C%'G) vitality. I looked at her unmovingly and 6'("#&.%'&0)S%(@"#"4).(#*$$)1"#)+.("A)&1") uncertainty of someone trying to push away the sudden thought that something you’d been sure would turn out well might be ending in an unexpected disappointment. >1")$F%/"4).)/%8/")L%4"#A).)/%8/")F*#") self‐conscious. I couldn’t say or do anything. I was *2"#L1"/F"4)L%&1)$644"')#"./%C.-*'A) what happens when your brain has trouble #".//0)#"./%C%'G)&1.&)$*)F.'0)&1%'G$)&1.&) you’d dreamed of were actually happening and could actually happen, that everything L.$)$644"'/0)$*)4%\"#"'&).'4)L*6/4)'"2"#) be the same. hR"//A)L%//)0*6)@%$$)F"}UA)$1")$.%4)-F%4/0H I pushed away a lock of hair gently, E#6$1%'G)1"#)+.(")L%&1)F0)3'G"#-<$H)>1") smiled hesitantly, looking at me with a sort *+)(*F</"&")&#6$&)&1.&)F.4")F")+""/).)/%8/") L".@A).'4)<.#&"4)1"#)/%<$).)+#.(-*'H)B)F*2"4) %').'4)@%$$"4)1"#)/%G1&/0A).)/%8/")'"#2*6$/0) for a moment, but then we both sunk into the kiss and rolled over on the bed. We kept

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on kissing, long, hard, breathless kisses. Somehow we both seemed to feel a certain *2"#<*L"#%'G)G#.2%&0)%')&1")$%&6.-*'A) like this was something vitally, crucially important and serious, something that was a really huge deal. We pulled apart, breathing heavily, and looked into each other’s eyes, staring deep into them urgently, like there were so many things we wanted to say in this moment that couldn’t be said in words, like we wanted to feel this moment and somehow looking into each other’s eyes would be looking into each *&1"#U$)$*6/$)+*#).)F*F"'&)&1.&)F%G1&)3'.//0) bridge that barrier between, like we wanted to record the feelings we felt from the looks in our eyes and remember it forever.

something was wrong. She was trying to keep her expression monotonous, but I could tell from her drawn smile and the despairing look in her eyes. ‘Lindsay?’ >1")'*44"4A).)/%8/")G"$&6#")*+)1"//*H ‘What’s wrong?’ ‘Umm.’ She blinked. ‘Well, uh, we’re moving. Moving house.’ ‘Wait, what?’ She looked at me. ‘My family is moving. My parents decided already. You know there’s no argument you can really make against something like that without $*6'4%'G)/%@").)(#.C0)<"#$*'A).'4)B)@'*L)%+) I risked it all anyway and told them they’d *'/0)&1%'@)B)L.$)(#.C0).'4)%&U4)E")F*#") reason for them to move, so‐‘ B)(6&)1"#)*\H)hR1"'}U She slumped into the bed, her expressionless demeanor suddenly cracking. She had an almost panicked expression, ‘Next month.’ like she was desperately trying to show no ‘Okay’, I said. ‘What’s going to happen to "F*-*').'4)<6$1%'G).L.0).)-4")&1.&)L.$) your house?’ &#%(@/%'G)&1#*6G1)D6$&)"'*6G1)&*)F.@")1"#)/%<) ‘Some other family is buying it’, she said. wobble a second, like she was desperately h?)0*6'G)(*6</")L%&1)/%8/")@%4$HU looking everywhere else but at me to avoid ‘Okay’, I said again. the inevitable betrayal eye contact would We both sat there silently for a while, not bring. looking at each other, not saying a word. h=**@A)BUF)$*##0A)*@.0})B)D6$&)4*'U&)&1%'@)B) B)3'.//0)E#*@")&1")$%/"'("H)hT*)0*6)&1%'@bh could bear $.0%'G).'0&1%'G)#%G1&)'*LH)B)D6$&) She looked up at me and looked at me can’t bear everything not being normal. I desperately. ‘That we could ever see each don’t want to say it because saying it will other even if we were elsewhere? That make it feel like it’s true. Hearing myself say whatever it is that unlocks our worlds it will make it irreversible. I wouldn’t be able is us).'4)6$)#".//0)L.'-'G)".(1)*&1"#A).'4) to bear that.’ not that we happened to be in a place in the h>*)&1"')L1.&})R")$<"'4)&*'%G1&).(-'G) universe where it all lined up?’ like nothing was up? Because it’s hard? It We were both silent for a moment. might be the easy way out now but do you ‘You don’t think so’, I said. want to have that regret forever, being sad ‘You don’t think so either.’ *2"#)"2"#0)F%'6&")L.$&"4)D6$&)E"(.6$")%&) We both waited a moment, our hearts was hard?’ sinking, trying to think of straws to clutch hQ*^UA)$1")$.%4A)1"#)2*%(")E#".@%'GH)hB)4*'U&) at but knowing somehow, deep inside, that @'*LH)B)4*'U&)@'*LA)D6$&)1*/4)F"HU there weren’t any, that there wouldn’t be .'0)'*)F.8"#)1*L)F6(1)L")&1*6G1&).'4) — how hard we looked. h>*)L1.&U#")L")G*''.)4*}U)B)$.%4)3'.//0H The next few weeks were perfect. ‘I don’t know’, she said. ‘What can we T.0-F")$""F"4)/%@")$*F")@%'4)*+)4#".FA) 4*})B)G6"$$)L"U//)D6$&)1.2")&*)1*/4)*6&)1*<"H) 3//"4)L%&1)*6#)*L')$"(#"&)1.<<%'"$$)E6&) That maybe I can come back here, when I’m *'")L1"#")L")S*.&"4)&1#*6G1A)D6$&)G*%'G) done with school and college, or something. &1#*6G1)&1")F*-*'$H Maybe that fate will again direct the both We’d rush upstairs every night, going to of us to another spot like this in our worlds, bed so early our parents were bemused, F.0E")*6#)(*//"G")4*#F$)L%//)./$*)/%'")6<•U F.@%'G)$&6<%4)";(6$"$).E*6&)E"%'G)-#"4) ‘No, they won’t’, I said. ‘This was a +#*F)$&640%'G)*#)$(1**/)*#)L1.&"2"#[)&1") F%#.(/"H)51.&U4)E").')%F<*$$%E%/%&0•U few hours of red‐tone monochrome, in a 10 ‘They might’, she said. ‘This was fate and by 10 space, outside of both our worlds, the if fate ended up making this impossible hours where we felt alive. probability happen once so we could meet ".(1)*&1"#)%&)(*6/4)D6$&)"'4)6<)4*%'G)&1.&) — again, couldn’t it? You never know‐‘ she stopped mid‐sentence, as if she’d run out of It was a week earlier when I’d turned on L*#4$A).'4)D6$&)$&.#"4).&)F")+*#).)F*F"'&H) the light and the moment I saw her I knew She opened her mouth to speak, her cont…

Chapter 5

Art and k$)=324>$)%"#I:!""!61" Literature expression fervent with belief, and closed it again, and then she seemed to suddenly drain of vitality, as if that was the moment when the fantasy she’d convinced herself might turn out to be true suddenly came crashing down. ‘Lindsay‐‘ ‘Don’t.’ Her voice cracked. ‘Please don’t try to comfort me, don’t say anything.’ That was a week ago.

Chapter 6 I kissed her lightly, and we sat huddled together on the bed for the next hour, not talking, me playing gently with her hair L1"#")%&)+"//)*2"#)1"#)+*#"1".4A)D6$&)&.@‐ ing comfort in feeling each other, solid and warm and real, next to us. h>*)L")1.2")*'/0)*'")L""@)/"M)&*G"&1"#UA) she said slowly. ‘Before I have to move. And we don’t know if we’ll ever see each other .M"#)&1.&H)R")4*'U&)@'*L)%+)L"U//)E").E/")&*) (*F")E.(@)&*)&1"$")1*6$"$•U ‘But that’s the plan’, I told her. ‘To buy or F*2")%'&*)&1"$")1*6$"$)%')*6#)#"$<"(-2") L*#/4$)&1")F*F"'&)L")G#*L)6<).'4)G"&)D*E$) and become able to.’ ‘But we don’t know that’, she said. ‘We don’t know if these houses will exist by then, or if some repair work will happen or some other change will happen. Or if we won’t fall for other people over the next many years, if we won’t convince ourselves as we get older that we must have been some kind of dream *#)1.//6(%'.-*').'4)F*2")*')L%&1)h#"./b/%+"U) people, people in our own world. Or if one of us may get sick, or get in an accident, or die, or anything. We don’t know. The only certainty we have is this week, and that we love each other now.’ R")E*&1)$<*@")%')$*MA)6'"F*-*'./) voices‐ not the voices of someone in despair, but the voices of someone who was sad but .(("<-'GA).'4)&1.'@+6/)*+)L1.&)L"U4)1.4H) And right now that was how we felt. We’d 1.4)$*F"&1%'G)$*)6'";<"(&"4/0A)%##.-*'.//0) wonderful that it felt callous to be angry at it '*&)/.$-'G)/*'G"#H ‘So what do we do tonight?’ I asked her. ‘Just hold me’, she said. ‘Just hold me now, and let us forget about the future and G**4E0"$)6'-/)&1.&)/.$&)'%G1&)(*F"$H),*#) '*L)BUF)<"#+"(&/0)1.<<0)D6$&)$%K'G)1"#"A) &*G"&1"#H)q'-/)L")(.'U&)$&.0)6<).'0)/*'G"#H) T*'U&)&6#')*\)&1")/%G1&HU

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