text:
He sat silently in his bedroom with the shades pulled down and the lights switched off. It was afternoon, so this failed to create the effect of complete darkness. Rather, it caused a bluish dimness to permeate the room. How dramatic, he mused, but it soon passed from his mind, replaced by a shade of some other train of thought.

It was only a shade because he had never truly had a fully formed thought about it. ‘It’ was an emotionally destructive event that had happened only a day prior. The thoughts he had had about it weren’t full in that they lacked any amount of emotion; they were totally logical, totally reasonable.

He was no stranger to such a thing; this had happened to him a number of times before in similar situations, but an emotional shock had always come a few hours later. Not this time. The fact that it had been a full day and nothing of the sort had transpired was enough for him to know the shock would never come.

The event was that his girlfriend had broken up with him. Naturally, the few people he had informed had given him plenty of advice on the matter. “There are other fish in the sea”; “Don’t give up! You can get her back!”; “Don’t be too sad”.

‘There are other fish in the sea’ was entirely obvious. The boy knew he would eventually find someone else, forget about his old girlfriend, and be happy. He knew that there was no such thing as “the one”.

‘Don’t give up! You can get her back!’ was foolish: no he couldn’t. The only way she would want to be with him again would be if she made the decision of her own accord. People were stubborn. Unwavering. Illogical. Their minds could not be changed on these matters.

‘Don’t be too sad’ was the most curious. Its stupidity and uselessness aside, the boy seemed to be following it of his own accord with his aforementioned lack of emotional thoughts. He had felt no rush of sadness, of helplessness or of desperation. His sadness had been private, internal. Its effects on his behavior were nothing more than some tiredness, and perhaps a tendency not to laugh as hard at jokes. Anyone who was unaware what had happened would assume he was just low on sleep; not that an event of immense consequence had just occurred in his life. Quiet sadness.

The boy knew from experience (both personal and of others) that ‘getting over a breakup’ typically involves a feeling of superiority, of maturing, of scorning your former partner. This was foolish, he felt. It was natural, and he had nearly given into it, but he had stopped himself. Perhaps he was above her, but not by all that much. He tried his best not to think any lower of her than she objectively deserved.
The silhouette of a tree outside his window shone through the shades. He stared as it danced in the wind for half a minute, then blinked.
Seemingly out of nowhere, the words ‘stupid bitch’ entered his mind, but he shook them off. There it is again, he thought; that unrelenting desire to show himself that it didn’t matter. That she was inconsequential, and that the prior event had been a fortunate one. But it hadn’t been. And he knew that he could never truly ‘get over her’ unless he accepted that it had indeed been a bad occurrence.
And she truly was not a stupid bitch. She was a wonderful, intelligent girl, who had been nearly perfect for him. And yet, she possessed a select few qualities that made the two of them incompatible. It was a terrible shame.

At that moment, his mother opened his bedroom door, bringing in light from the hallway, “There you are, sweetie. I’ve been looking for you. What are you doing in here all by yourself?”

“Nothing, Mom. I was just going to go mow the lawn.”

She smiled, nodded and left the room. The boy followed a few moments later, and went to get the mower.

title: Quiet Sadness

question: Why is the narrator depressed?

answer: His girlfriend broke up with him

question: Write a ~3 sentence summary.

answer: The narrator is depressed that his girlfriend broke up with him. The advice other people give him agitates him. He knows the only way to get over her is to accept that even though they were nearly perfect for each other she had a few qualities that made them incompatible and that is a shame.


split: train

text:
For a small piece of land assigned to a state that deemed mixed martial arts illegal from 1997 to 2016, Long Island has produced its fair share of professional fighters in the UFC.

No less than 18 fighters with Long Island roots — either where they grew up or where they settled in after college — have stepped inside the UFC’s octagon and competed in more than 125 fights.

Long Island’s presence in the UFC’s history goes far beyond an accent unique to this little part of the world. Matt Serra of East Meadow pulled off the biggest upset in the promotion’s history on April 7, 2007, when he knocked out Georges St-Pierre to win the welterweight title. Ten years later, it still shows up in all the Top 10 countdown shows and lists. Six years later, Baldwin’s Chris Weidman hoisted gold for Long Island once more, knocking out Anderson Silva to win the middleweight title.

As the UFC brings its first card to Long Island and Nassau Coliseum on Saturday, July 22, Newsday takes a look at the nine active fighters from here, including, in alphabetical order, Dennis Bermudez, Gregor Gillespie, Al Iaquinta, Brian Kelleher, Ryan LaFlare, Aljamain Sterling, Chris Wade, Chris Weidman and Gian Villante. Newsday also interviewed six former local fighters to see what they are doing now.

Project Editor: Mark La Monica
Principal Photographer: Chris Ware
Additional photographers: Marcus Villagran, Megan Miller
Reporters: Mark La Monica, Ryan Gerbosi
Video editors: Megan Miller, Greg Inserillo
Video graphics: Jeffrey Basinger

question: How many UFC fighters are from Long Island?

answer: at least 18

question: Why hasn't there been a UFC fight in Long Island yet?

answer: Mixed martial arts were illegal in Long Island from 1997 to 2016.

question: Who published this article?

answer: Newsday

question: Who took the photos in this article?

answer: Chris Ware, Marcus Villagran, and Megan Miller

question: Write a ~1 sentence summary.

answer: The article notes the first UFC fight in Long Island and recognizes achievements in the UFC by people from Long Island, including Chris Weidman and Matt Serra.


text:
ANNO SCHOENEN OSB (1 July 1925 in Essen – 21 March 2016) was a German Benedictine. He was abbot of Maria Laach Abbey (1990–2002) and presiding abbot of the Beuronese Congregation (1995–2008).

Life

He was born Heribert Schoenen, the youngest child of a mercantile family from Essen. He was called up in 1943 and was badly wounded on the Eastern Front before being captured. He returned to Germany at the end of the war and studied philosophy and theology in Bonn, particularly under Friedrich Nötscher and Heinrich Joseph Vogels. In 1946 he entered the community at Maria Laach Abbey under abbot Ildefons Herwegen and received the religious name Anno. On August 24, 1948, he took his first monastic vows and in 1952 he was ordained a priest,[1] becoming chief assistant to novice master Basilius Ebel. He was at Herstelle Abbey from 1957 to 1989, working alongside abbess Beatrix Kolck.

On 4 November 1990 he succeeded Adalbert Kurzeja OSB (born 1920) when he was elected 48th abbot of Maria Laach Abbey. He was installed at the abbey on saint Anno's day by Herman Josef Spital, bishop of Trier. His motto was Honore invicem praeveniant (Romans 12.10). He resigned on age grounds in 2002. From 1995 to 2008 he was also presiding abbot of the Beuronese Congregation.

Schoenen was strongly influenced by Rudolf Tippmann and E. Nüßlein, who had taught him pastoral studies, liturgy and religion at Essen, and by Max Josef Metzger.[2]

Works

-   _Maria in der Kirche. Väterwort und Gotteslob_, Pustet, Regensburg 1955, with Emmanuel von Severus OSB.
-   _Die Familie Gotteswerk und Menschenmühen_, Verlag Ars Liturgica, Maria Laach 1958.
-   _Heute wenn ihr seine Stimme hört. Band 1: Advent bis Pfingsten_, Pustet, Regensburg 1966.
-   _Heute wenn ihr seine Stimme hört. Band 2: Sonn- und Festtage nach Pfingsten_, Pustet, Regensburg 1967.
-   _Heute wenn ihr seine Stimme hört. Kurzpredigten zum Kirchenjahr_, Pustet, Regensburg 1968.
-   _Die Weihnachtsbotschaft. 38 Predigten._, Pustet, Regensburg 1969, zusammen mit Karl Lehmann und Ambrosius Karl Ruf.
-   _Erscheinung des Herrn_, Düsseldorf 1993.

[1]

[2]

title: Anno Schoenen

question: What is Anno Schoenen's education?

answer: Anno Schoenen studied philosophy and theology.

question: Who influenced Schoenen influenced most?

answer: Rudolf Tippmann E. Nüßlein, and Max Josef Metzger probably influenced Schoenen most.

question: What was Honore's moto?

answer: Honore's motto was Honore invicem praeveniant.

question: Why did Schoenen resign?

answer: Schoenen resign on age grounds.

question: Write a ~4 sentence summary.

answer: Anno Schoenen (1925–2016) was a German Benedictine. He was the abbot of Maria Laach Abbey and presiding abbot of the Beuronese Congregation. He is known for his books 'Maria in der Kirche. Väterwort und Gotteslob', 'Familie Gotteswerk und Menschenmühen', etc.


text:
The sunset cast a pink glow over the horizon. The last few rays stretched across the ocean, casting small shadows on the grains of sand like tendrils creeping from the water. The tendrils kept stretching and stretching as the light slowly faded from view. A man sat on the beach, these tendrils slowly sneaking towards him. His foot shifted, breaking the illusion as he leaned back. The sand softly clinked against the bottle of wine to his right and scraped against the pistol to his left.

The mans name was unimportant. He was easily forgettable. He could blend into a crowd, disappear into the night. He was the guy in the apartment building, in 8B, who you pass every day. Who stares longingly at you as you walk buy but as far as you'd be concerned he's just a part of the tacky wallpaper. But he's always there whether you realize it or not.

This feature of his was excellent in this case. Sitting on a beach in Florida, he was unnoticed by the countless runners and late tourists watching a sunset on a clear summer evening. As the last few stragglers went back to their homes and hotels, the man sat up straight. He grasped the bottle of wine, letting a few mouthfuls of the drink slide down his throat before wiping the bottle down and tossing it into the bushes.

He stood up, the sand filling the void between his toes, as he slowly walked to the pier. Sitting out of view behind a support beam he waited. There was now no light in the sky. The faint glow of the city behind him made the waves visible but if anything was out there it was lost in the inky blackness. But a faint dot could be made on the horizon, a tiny light that could be easily mistaken as a star low on the horizon but the man knew better. He had dealt with this light before.

As the light slid across water, he followed. Walking down the beach and wading through water, all the while making sure the pistol was kept dry. He followed it for what felt like hours, his heartbeat pounding in his ears and his mind filled with anticipation. Eventually it came towards land, near a marina. Hiding behind a pillar once again, the man made sure the gun was loaded and the safety off. The boat grew near, the lights now completely on instead of hiding in the background.

Another man, a Cuban, jumped off the boat, mooring her to the pier and made sure the locks were all locked tight. As he turned to leave he was faced by a man with a cocked pistol pointed squarely at his head. The Cuban could almost see the hollowpoint 9mm round lurking in the barrel. He closed his eyes. A loud pop was heard, birds scattered, and you could hear a thud as his body slumped to the wooden deck. The man quietly slipped away into the night, the black enveloping him.

The police arrived a few hours later, shooing the critters away trying to feast on the Cuban. They checked his pockets, retrieving the keys to his boat and climbed aboard. They found a hollow compartment and using the keys, popped the lock. Inside it was filled with water, they were about to close it when a hand slowly rose to the surface.

After digging through the Cubans information they realized he went by a name that was respected out of fear in the Cuban community. The Coyote. A man who profited off the love of others by smuggling people out of Cuba and into the United States. They identified the remains, 12 in all, in the compartment and looked up their relatives. A stack of files with photos attached sat on a detectives desk as he worked through them. Considering their motive and wondering if they were the man that killed the Coyote.

However in that stack of files was a man. A man who had lost his family to the Coyote. A man who had killed the Coyote. A man who blended into the background, slipping out of reality and disappearing once again into the dark. And as the file was eventually placed into the cold cases, waiting for a solution that would never come, the Man sat smiling on a chair in his small apartment. A man who raised his gun to his temple and pulled the trigger.

title: A Man

question: What is the central theme of the story?

answer: Revenge.

question: Why does the protagonist want to exact revenge?

answer: Because the man known as the Coyote killed his family.

question: How does the Coyote profit from the love of others by transporting their families to the US from Cuba if he kills them?

answer: He could be killing very few people compared to the number he smuggles across, but it's not possible to answer this question completely.

question: Explain the implication of the protagonist committing suicide after exacting his revenge.

answer: He has lost his reason to live after losing his family and exacting revenge for them.

question: Write a ~5 sentence summary.

answer: A man sits on a beach, easily blending into the surroundings by the feat of his unremarkable appearance. He uses this as an asset in his pursuit of a mote of light in the ocean, belonging to the boat of a man known as the Coyote. The Coyote is a smuggler that carries the families of immigrants from Cuba into the US. The man makes sure his gun is ready and shoots the Coyote in the head for the crime of killing his family along with 12 other families. He then commits suicide, and the police never find the killer.


text:
I barely noticed them. One was kneeling on top of the other, messily swinging his fists and almost missing the boy beneath him. Rain had begun to fall, but living in Vietnam for two years made me no stranger to its presence. This time around, I welcomed it; the day had been a particularly humid one. I marched past them, trying not to get in their way. I began to wonder how I was going to deal with my English homework and had all but left the two boys behind until I began to hear sobbing. It wasn’t a sound typically heard in Vietnamese street fights, as it was a sign of weakness. I turned around and looked into the face of the beaten boy. His swollen eyes leaked tears, and he was bent over, clutching his stomach in pain. He was small. Too small to be getting himself into fights. Then I began to remember.

It was a bright, cold winter day in the middle of December. I remember walking back to my classroom after a particularly vigorous fifth grade recess. As I walked I heard the sound of a sobbing boy and punches beating skin. I burst into the scene, where a group of kids had already formed a semicircle around the sight, too engrossed in the violence to take any action. I called over two of my friends, and together we pushed our way through to the fight. We found a boy named Mark on top of another; his name was Eric. They were both on the ground, and Mark had his knees on Eric’s chest. With one hand he choked Eric and with the other he repeatedly hit him.  One of my friends restrained Mark, and the other helped me to run Eric to the nurse’s office. I remember so well Eric’s lurid face in the cold sunlight of that winter day. Bruises, blood, and mixed with tears. They flowed down his cheeks and their salt ran into his wounds, making him sob.Liquid pain ran down his face and darkened the pavement below us, but when I walked back that way after school, they had all but disappeared.

I remembered all of this as I watched, through the haze of the Vietnamese rain, the small boy with the pain slathered across his body. Uncontrollable tears surged through the small gap that was all that you could see of his eyes. Long after his assailant had left him on the ground he stayed on the pavement, and though he was almost invisible through the rain, I knew he was crying. Eventually, he struggled into a sitting position, and his eyes locked onto mine. Instantly, I realized that he knew who his silent spectator was. I wanted to go to him. I wanted to tell him that he was going to be fine, and that I would bring him home with me and we would get him food and then call his parents and then send him to the hospital, and that we would wait outside and that I was sorry that I didn’t step in to save him from his humiliation and pain and if there was anything I could do to put everything right I would do it on the spot. But I couldn’t. Though every nerve in my body burned and screamed for me to go and do what was right, I found myself rooted to the earth. I couldn’t communicate to him the depths of my sympathy. There was no point. He already knew that nothing would change the fact that I had done nothing but stand and watch him suffer. I couldn’t bear the shame of admitting to him that I was a coward. So I walked away.

title: A personal narrative I wrote for my sophomore english class. how can i improve?

question: Why doesn't the narrator notice the rain?

answer: They have been living in Vietnam for two years, where rain is common.

question: Why did Eric's crying make Eric cry harder?

answer: The salt mixed with his wounds.

question: Why does the narrator feel they are a coward?

answer: They did nothing while someone was beaten up.

question: In what month did the narrator notice the fight?

answer: December.


text: Ernest Hemingway wrote a really fascinating shortstory with only 6 words. He wrote: For Sale. Baby shoes. Not worn.   What are your ideas of an shortstoriy with just 6 words?

title: Write your Shortstory with 6 or less words

question: What was the short story that Hemingway wrote?

answer: This information can't be found.

question: Whose shoes was Hemingway referring to?

answer: This information cannot be found.

question: What are the other short stories?

answer: This information cannot be found.

question: Why was he wanting to sell the baby's shoes?

answer: This information cannot be found.

question: Write a ~0 sentence summary.


text:
“MICKEY MOUSE CUP” is a subjective term in football, particularly in English football.[1][2] The term has been applied to lesser Confederation competitions such as the UEFA Super Cup, it has also been applied to the FIFA Club World Cup.[3][4]

The English Football League Cup is often referred to as the “Mickey Mouse Cup” by larger Premier League clubs[5] as is the EFL Trophy which has been known by various sponsors' names and which was previously the _Associate Members Cup_.[6]The perception of a cup as “Mickey Mouse” may not be universal, since smaller and lower standard competitions give a chance for lower league clubs to win silverware, and additionally gain extra revenue from playing a much larger club.[7]

Often, a club that perceives a competition as a “Mickey Mouse Cup” – usually a stronger Premier League side – will field a weakened, reserve or youth team in the competition, resting more high-profile players and further weakening the perception of the competition.[8] However, this often has the effect of giving chances to play to developing players, who may progress into the first team.[9]

The term may also be applied to a competition to intentionally disparage the winning of it by a rival side, or to minimize the importance of the competition to a club if knocked out. This may be done as part of a mind game with rival clubs in other competitions, or for reasons to maintain team morale.[10][11]

Since 2010, the term has been used as a nickname for the Walt Disney World Pro Soccer Classic, a preseason tournament played by teams in the Major League Soccer, a league that itself has been called a “Mickey Mouse League”.[12][13]

Other uses

The terms _Mickey Mouse Treble_ and _Mickey Mouse Double_ have been used subjectively to disparage the winning of what are perceived as multiple lesser trophies by larger clubs in a single season, in comparison to the European treble and the Double. Such terms are usually applied by a rival club. The term 'Mickey Mouse Treble' along with 'plastic treble'[14] has been used to describe Liverpool's 2001 win of the Football League Cup, UEFA Cup and FA Cup, compared to United's win of the Premier League, FA Cup and UEFA Champions League in 1999.[15] United themselves got criticized for celebrating a 'Mickey Mouse Treble' in 2016–17 when they won the FA Community Shield, League Cup and UEFA Europa League,[16][17][18] especially since domestic super cups are perceived to hold little, albeit still official, status in Britain.[19]

The term has also been used to undermine football referees. After a questionable decision by an official in a Newcastle United match, manager Joe Kinnear reacted by criticising the quality of refereeing, saying: “It was a blatant foul, a blatant push prior to the penalty, and he ignores it...it was just a Mickey Mouse ref doing nothing.”[20]

In recent years the term has also become popular amongst Australian Football League fans when referring to the fruitless and seldom taken seriously NAB Cup.

In 2019, Lionel Messi was trolled by fans of Cristiano Ronaldo for winning a Mickey Mouse cup known as Superclásico de las Américas.[21]

[1]

[2]

[3]

[4]

[5]

[6] Hull Daily Mail https://www.hulldailymail.co.uk/sport/football/football-news/hull-city-owners-allam-transcript-4392777 retrieved October 2020

[7]

[8]

[9]

[10]

[11]

[12] http://www.wakingthered.com/2013/2/22/4018924/torsten-frings-to-say-farewell

[13] http://gay4soccer.wordpress.com/2012/02/14/a-mickey-mouse-cup-disney-soccer-classic-preview/

[14]

[15]

[16]

[17]

[18]

[19]

[20]

[21]

title: Mickey Mouse cup

question: Summarize how the term got its name.

answer: The term implies a team is younger, and/or underdeveloped. The name might come from the idea that younger children are drawn to the iconic Disney figure. The term is also used to disparage and intimidate teams, especially those teams that may boast less experience.

question: Summarize the types of sports in which the term is, or has been, used.

answer: Initially, usage of this term was seen when discussing football (known as soccer in the United States) clubs. However, the somewhat disambiguated uses have been noted in talk about referees as well as fans. It is unknown if this term is dispensed in the sphere of other sports throughout the world.

question: Explain the history of the usage of this term.

answer: While there is a paper trail of its usage during Liverpool's multiple 2001 wins compared to United's multiple 1999 wins, it's unclear if the millennial turn is the first time this subjective term has been doled out to highlight rivalries. Since the term has also shown up in talk amongst Australian Football League fans, it has traversed oceans and become more of a globalized thing-at least in the realm of football. Additionally, since the term has been used by fans of Cristiano Ronaldo to troll Lionel Messi, it has clearly spread to South America and Spain.

question: Name some other terms, and their histories, that have become popularized in a similar fashion in the world of football/soccer.


text:
The Office Bathroom

So there I was, sitting on the toilet in the bathroom, minding my own business. In walks another patron for one of the other porcelain thrones. He takes the one furthest from me. Minutes go by, no major release from their anus. Meanwhile I am sitting there on Reddit, taking my time as I have already released the majority of my demons.

Suddenly, there is a tremor in the stalls. And what must have been a soft paste explodes from the ars of patron number 2. The kind that makes little popping sounds as it comes out in a medium-thick stream of smelly bile. Pop, pop, poppity pop it went. Followed by what can only be described as a cartoon fart. *BLARRRT* I giggle at the misfortune on this stranger as they may have held that poo to avoid my ridicule. But they failed.

As I proceed to clean myself, it hit me, a smell that is the enemy of any nostril. At first, it came it light waves and was mixed with fresh air, confusing me, not alerting me to the poop scented dangers that would soon approach. I stayed strong and kept my breathing to a minimum. I opened the stall door and ran to the sink. I was safe. I made it out alive. Or so I thought...

I looked myself in the mirror and watched as I gagged on the smell of another's feces. It was a silent gag, the kind that only makes your eyes water and your stomach churn. The water flowing from the faucet, my mind racing with images of rotten chocolate pudding.

At last, the soap was off of my hands and I made my way to the towel dispenser, dispensing several towels. I dried my hands and left the bathroom as quickly as I could, stomach in shambles and eyes a glazed over with pain.

title: The Office Bathroom

question: Write a ~1 sentence summary.

answer: The narrator witnessed another toilet user have an unpleasant experience while using the men's toilet at the office.


text:
New here, this is a story that's been in the inner works of my mind for a while and I've decided to release it chapter by chapter for dramatic effect... and if you people don't tell me it sucks. Here goes.

------ Red Eyes! I hated that name. I slowly opened my eyes and waited for them to focus. My team sat around me as we sped toward a hulking mass in the distance. They were terrible people, but then again so was I. We had reached the town after God knows how long; I tried to sleep any time we took a long trips. I hated riding in the ancient snowcrawler we used and besides, the last time I stayed awake for the whole trip I lost my arm in the process of getting the job done. I clenched my metal hand a bit from thinking about it. The phantom still hurt like a mother more or less constantly. We literally slid to a stop all at once, the guy driving loved to do this any time we went anywhere in the thing. We called him Syko and he made a point of living up to his name in pretty much all aspects. None of us particularly liked each other, but there had been several times where he and I had nearly killed each other, and that was on the good days. The town we had come to had been abandoned for a long time but we still moved as quickly as possible. We were “acquisition agents” meaning we were thieves and murderers for The Remnant of The One, a group of militarized fanatics that had dropped their own personal Armageddon from the sky some years ago. Thanks to that, it snowed relentlessly and was also the reason I was born with Ice Child Syndrome. We had come to this place to grab a stash of previously undiscovered weapons left by the old military before The Cataclysm. I pulled a knit cap over my head and turned to head away from the rest of the team. This was the way we always did it, we were all armed and had killed enough times that none of us would hesitate if the need arose. As I was leaving I heard Syko whisper to me over the radio. “Might want to be careful Red Eyes. I can’t be held responsible if we cross paths and you startle me. There could be an unfortunate accident.” He cackled and I heard him unsheathe his sword and swing it a few times. He was undeniably talented with it, but I was just as good with my guns. I raised one out of its holster and cocked the hammer; I’d need the flashlight on it anyway. “Looking to die this evening?” I asked and turned to aim at him from down the hall I had begun to venture down. He laughed in his usual annoying tone again and disappeared into the darkness. “Asshole.” I said to myself and descended down a flight of stairs coming to a locked door. I pressed my ear to it listening intently and to my surprise heard movement. I kicked it down and ducked for cover behind an overturned desk just inside the room and spotted the crates we were looking for in the corner opposite of me. popping my head up to see an empty room, the situation hit home and the only thing I had time to think was “Impossible.” I quickly shifted my weight and spun around to find the barrel of a shotgun shoved into my chest. “Shit.” I heard a bang and was sent flying across the room losing my grip on my guns in the process and upon impacting the wall a loud crack came from my neck. I tried as hard as I could to move my hand to the knife I kept hidden behind my holster but nothing was happening, I was fully paralyzed. As I involuntarily slid down the wall I suddenly recognized the person that had shot me. “Blaire?” She was suddenly face to face with me and slowly began to smile exposing jagged yellow fangs. As I struggled to move, thick grease like blood began to gush from her mouth. She began laughing an unnatural, guttural laugh and the last thing I remember was seeing was her ripping my still beating heart from my chest.

title: Red Eyes - Chapter one

question: Define Red Eyes

answer: The name of the narrator.

question: Who is Syko?

answer: The psychotic driver of the snow crawler.

question: Who is the narrator and why does he have a metal hand?

answer: The narrator is called Red Eyes because he was born with Ice Child Syndrome. He lost his arm in one of their missions.

question: What happened to the world?

answer: Military fanatics called the Remnant of the One dropped Armageddon from the sky (nukes?) that led to The Cataclysm. They destroyed the world, it snowed relentlessly, and people are mutating into monsters (Blaire).

question: Write a ~7 sentence summary.

answer: Red Eyes is part of a team of "acquisition agents" for the Remnant of the One, military fanatics who dropped bombs on the world that led to The Cataclysm (worldwide destruction) and relentless snow. They're thieves and murderers, really terrible people, especially Syko, the snow crawler driver. Red Eyes was born with Ice Child Syndrome, which is why he has red eyes. He lost his arm on a mission and now sports a metal one. They go to a supposedly abandoned town for a stash of weapons left by the old military. Red Eye spots the crates they were looking for in a room that seems empty, only get shot by Blaire, a person he knows. The shotgun blast paralyzes Red Eyes, and the last thing he sees is a monster-like creature that was Blaire, with jagged yellow fangs and greasy blood gushing from her mouth, ripping his still-beating heart out from his chest.


text:
[] This is a list of characters from the film series _The Godfather_ consisting of _The Godfather_ (1972), _The Godfather Part II_ (1974) and _The Godfather Part III_ (1990), based on Mario Puzo's best-selling 1969 novel of the same name, as well as the book series _The Godfather_ consisting of the original, Puzo's _The Sicilian_ (1984), Mark Winegardner's _The Godfather Returns_ (2004) and _The Godfather's Revenge_ (2006), and Edward Falco's prequel novel _The Family Corleone_ (2012). There are also three video games set within _The Godfather_ universe were also created: _The Godfather_ (1991), _The Godfather_ (2006) and _The Godfather II_ (2009).

Corleone family

[Corleone family tree]

Vito Corleone

Vito Andolini Corleone is a fictional character in Mario Puzo's novel _The Godfather_ and in the first two of Francis Ford Coppola's film trilogy. He is portrayed by Marlon Brando in _The Godfather_ and as a young man by Robert De Niro in _The Godfather Part II_. He is the leader of the Corleone crime family, as well as the patriarch of the Corleone family.

Carmela Corleone

Carmela Corleone is a fictional character who appears in Mario Puzo's _The Godfather_, as well as its first two film adaptations. She is portrayed by Morgana King. She is the wife of Vito Corleone and the mother of Sonny, Fredo, Michael and Connie Corleone, and the adoptive mother of Tom Hagen.

Sonny Corleone

Santino “Sonny” Corleone is a fictional character in Mario Puzo's 1969 novel _The Godfather_ and its 1972 film adaptation. He is the oldest son of the Vito and Carmela Corleone. He has two brothers, Fredo and Michael, and a sister, Connie. In the film, Sonny was portrayed by James Caan, who reprised his role for a flashback scene in _The Godfather Part II_. Roman Coppola played Sonny as a boy in the 1920s scenes of _The Godfather Part II_. Sonny's hot-tempered nature eventually leads to his early death.

Fredo Corleone

Frederico “Fredo” Corleone is a fictional character in Mario Puzo's 1969 novel _The Godfather_ and its 1972 film adaptation, as well as its 1974 sequel. He is portrayed by John Cazale. He is the second born son of Vito and Carmela Corleone, but is passed over when his younger brother Michael succeeds their father as head of the family due to Fredo's incompetence. In _The Godfather Part II_, betrayal of his family eventually leads to Michael having him killed.

Michael Corleone

Michael Corleone is the protagonist of Mario Puzo's novel _The Godfather_ and Francis Ford Coppola's film trilogy based on the novel. He is the third son of Vito and Carmela Corleone. He is portrayed by Al Pacino in the films. His journey from family outsider to ruthless mafia boss is the central focus of the novel and the films.

Connie Corleone

Constanzia “Connie” Corleone is a fictional character in Mario Puzo's novel _The Godfather_ and Francis Ford Coppola's film trilogy. She is portrayed by Talia Shire. Connie is the only daughter and youngest child of Vito and Carmela Corleone. The first film and novel begins with her marriage to her abusive husband, Carlo Rizzi. After her husband's murder is arranged by her brother, Michael, she becomes estranged from her family. The death of her mother Carmela prompts her to become closer to her family. She eventually becomes one of Michael's closest allies.

Tom Hagen

Thomas “Tom” Hagen is a fictional character in Mario Puzo's novel _The Godfather_ and Francis Ford Coppola's films _The Godfather_ and _The Godfather Part II_. He is portrayed by Robert Duvall in the films. He is a _consigliere_ and lawyer for the Corleone crime family. He is also an informally adopted member of the Corleone family.

Sandra Corleone

Sandrinella “Sandra” Corleone (_née_ Colombo) is a fictional character appearing in Mario Puzo's novel _The Godfather_ and its first film adaptation. She was portrayed by Julie Gregg. She is the wife of Sonny Corleone.

Vincent Corleone

Vincent Santino Corleone (_né_ Mancini) is a fictional character appearing in _The Godfather Part III_. He is portrayed by Andy García. He is the illegitimate son of Sonny Corleone and Lucy Mancini. At the end of the film, he succeeds his uncle Michael Corleone as head of the Corleone crime family.

Anthony Corleone

Anthony “Tony” Corleone is a fictional character in Mario Puzo's novel _The Godfather_ and Francis Ford Coppola's film trilogy. He is the son of Michael Corleone and Kay Adams-Corleone. While he is the son of a Mafia boss, he does not join the family business and becomes an opera singer in _The Godfather Part III_.

Mary Corleone

Mary Corleone is a fictional character appearing in Francis Ford Coppola's film trilogy _The Godfather_. She is the daughter of Michael Corleone and Kay Adams-Corleone. She is portrayed by Sofia Coppola. She is a childish and naive girl. Mary attempts to begin a relationship with her cousin, Vincent Corleone. Her murder at the end of _The Godfather Part III_ devastates her father Michael.

Kay Adams-Corleone

Katherine “Kay” Corleone (_née_ Adams) is a fictional character in Mario Puzo's novel _The Godfather_ and Francis Ford Coppola's film trilogy. She is portrayed by Diane Keaton. Before their divorce, she is the second wife of Michael Corleone. She is also the mother of Anthony and Mary Corleone.

Apollonia Vitelli-Corleone

Apollonia Corleone (_née_ Vitelli) is a fictional character in Mario Puzo's novel _The Godfather_. She is portrayed by Simonetta Stefanelli in the film adaptation of the same name. She also appears in flashbacks in _The Godfather Part III_.

Apollonia is a young Sicilian woman of Greek descent who meets Michael Corleone during his exile in Sicily. After seeing her for the first time, Michael and his bodyguards inquire about her to Signore Vitelli, a local tavern keeper to try and find out who she is. After describing her in detail, Vitelli angrily says he does not know her and leaves. When Michael's bodyguards realize that the girl is Signore Vitelli's daughter, they both ask Michael to leave, but Michael, speaking through his bodyguard and interpreter Fabrizio, soon gains Signore Vitelli's respect by introducing himself and apologizing. Michael asks and receives Signore Vitelli's permission to court Apollonia under the chaperonage of her family. After a brief courtship, they are married.

Soon afterward, however, Apollonia is killed by a car bomb intended for Michael. The attack was set up by Fabrizio, who had betrayed Michael to Corleone family enemies back in Michael's native New York City. In an unfortunate twist of fate, she unknowingly puts herself in danger when she tries to impress Michael by showing him that she taught herself how to drive, which was uncommon for Sicilian women. In the book, she is pregnant at the time of her death, but this detail is not specified in the film. The explosion is powerful enough to throw Michael off his feet and knock him unconscious. The local Mafia chieftain, Don Tommasino, an old friend of Michael's father Vito, moves Michael to a hospital. Michael regains consciousness a few days later, whereupon Don Tommasino informs Michael of his wife's death. After returning to the United States, Michael reconnects with his previous girlfriend, Kay Adams, but does not tell her that he had been married while he was living in Sicily. They marry and have two children. However, in _The Godfather Part III_, Kay mentions Michael's first marriage when she and Michael visit Sicily together. Michael also tells his daughter Mary Corleone that she bears a resemblance to his first wife Apollonia.

In the novel, Michael avenges Apollonia's death. Fabrizio is found running a pizza parlor in Buffalo, New York under the alias of Fred Vincent. He is shot in the chest by an assassin who walks into the pizza parlor. The assassin then tells him “Michael Corleone sends his regards”, before shooting him again in the head. In a deleted scene from the film's script, Michael himself kills Fabrizio with a shotgun. This scene was never released, although publicity photos were distributed of Al Pacino, who portrayed Michael, firing a shotgun.[1][2] A scene was filmed for Part II in which Michael is informed that Fabrizio has been found. The former bodyguard is killed in his car with a powerful bomb wired to the ignition, matching the car bomb that he used to kill Apollonia. The scene was removed from the final cut of the film, but it can be seen in _The Godfather Saga_.

Johnny Fontane

Johnny Fontane, a popular singer and Vito's godson, seeks Vito's help in securing a movie role; Vito dispatches his consigliere, Tom Hagen, to Los Angeles to persuade studio head Jack Woltz to give Johnny the part. Woltz refuses until he wakes up in bed with the severed head of his prized stallion.

Al Martino, a then famed singer in nightclubs, was notified of the character Johnny Fontane by a friend who read the eponymous novel and felt Martino represented the character of Johnny Fontane.[3] Martino then contacted producer Albert S. Ruddy, who gave him the part.[4] However, Martino was stripped of the part after Francis Ford Coppola became director and then awarded the role to singer Vic Damone.[5] According to Martino, after being stripped of the role, he went to Russell Bufalino, his godfather and a crime boss, who then orchestrated the publication of various news articles that claimed Coppola was unaware of Ruddy giving Martino the part.[6] Damone eventually dropped the role because he did not want to provoke the mob, in addition to being paid too little.[7] Ultimately, the part of Johnny Fontane was given to Martino.[8]

Coppola said in the audio commentary that “Obviously Johnny Fontane was inspired by a kind of Frank Sinatra character”.[9]

Genco Abbandando

Genco Abbandando was the first _consigliere_ of the Corleone family, and childhood friend to Vito Corleone.[10] Frank Sivero portrayed Genco in _The Godfather Part II_ as a young man.

Raised in New York City's Little Italy, Genco worked at his father's grocery store from an early age. He became friends with the hired hand, Vito Corleone, and was upset when Vito was fired by his father, forced to do so by the neighborhood boss Don Fanucci. Genco offered to steal from his father to help his friend, but Vito refused, saying this would be an offense to his father.

After Vito kills Fanucci and becomes the new Don of the neighborhood, he hires Genco to act as his _consigliere_, and names his front company “Genco Pura Olive Oil Company” after his friend.[11] Genco serves as Vito's most trusted adviser for decades, until he is stricken with cancer and can no longer fulfill his duties. During this time, Tom Hagen, Vito's informally adopted son, stands in for him.[12] Genco dies in 1945, the day after Vito's daughter Connie's wedding.[13] A scene where Vito visits Genco on his death bed in hospital after the wedding was ultimately cut from _The Godfather_ film.[14]

Corleone family allies

Luca Brasi

Peter Clemenza

Al Neri

Frank Pentangeli

Salvatore Tessio

Corleone family enemies

Don Altobello

Emilio Barzini

Don Fanucci

Moe Greene

Captain McCluskey

Captain Mark McCluskey is a fictional character in Mario Puzo's _The Godfather_.

In the novel and film, McCluskey is a corrupt Irish American New York police captain, in Francis Ford Coppola's film adaptation, he is portrayed by Sterling Hayden.[15][16]

Virgil Sollozzo unsuccessfully attempted to assassinate Don Vito Corleone after a failed attempt to obtain financing and police and political protection for his emerging heroin business. When Sollozzo learns Corleone survived, he sends agents to the hospital for another attempt after he has Captain McCluskey (Sterling Hayden), a New York City police captain on Sollozzo's payroll, arrest Don Corleone's personal guards at the hospital and removes the police officers stationed outside the Don's hospital room. The assassination attempt fails after Vito's youngest son Michael arrives, and finding all the guards gone, suspects another assassination attempt is about to happen. He moves his father to another room, then tricks the would-be assassins into believing guards are still protecting his father. Captain McCluskey arrives and confronts Michael, punching him and breaking his jaw. Hagen arrives shortly afterwards with guards legally licensed to carry weapons; McCluskey, unable to arrest them without raising suspicions, backs down and leaves.

Soon after, Sollozzo seeks a meeting with Michael to resolve the hostilities, although at Michael's urging, the Corleones view this as an opportunity to kill Sollozzo, which would, of necessity, also involve killing McCluskey. Michael successfully convinces Sonny Corleone, Tom Hagen and other leaders of the Family that the usual strict Mafia prohibition against killing police for fear of bringing down the retribution of the authorities should not apply in this case, since McCluskey is “a cop who's mixed up in drugs, a dishonest cop, a crooked cop who got mixed up in the rackets and got what was coming to him” and says that this would be “a terrific story” to be given to newspaper people on the Corleone Family payroll after the fact.

Under McCluskey's personal protection, Sollozzo meets with Michael in a Bronx restaurant. Although Michael is frisked before the meeting, a revolver had been planted behind the overhead tank of a toilet in the restaurant's lavatory. (The Corleones were able to do this only because they found out in advance where the meeting would take place - because McCluskey was required by police regulations to leave an address where he could be reached that night and a cop in his precinct who was being paid off by the Corleones told Sonny where McCluskey would be that evening). Michael excuses himself to go to the bathroom, and retrieves the revolver. When he returns, he draws the gun and shoots Sollozzo in the forehead, killing him instantly, and kills McCluskey with two shots moments later.

Although the double murder, including that of a police captain, brings an official crackdown on organized crime, the subsequent leak of information about McCluskey's criminal links to Sollozzo - as Michael correctly predicted - gets wide coverage in the newspapers and takes some of the heat off.

Johnny Ola

Johnny Ola is a fictional character in _The Godfather Part II_. He is portrayed by Dominic Chianese.[17]

Johnny Ola is a mobster and right-hand man to Jewish mobster Hyman Roth.[18] He is an enforcer and “made man” of one of Five Families of New York City. Ola is Sicilian but speaks American English with a New York accent. Ola is part of Roth's plan to assassinate Michael Corleone at his home at Lake Tahoe, with unwitting help from Michael's brother Fredo. When Michael asks if Fredo and Johnny had ever met, they deny knowing each other. Later, however, Fredo carelessly reveals that he and Ola had visited a nightclub together in Havana. Michael overhears the conversation and realizes that Fredo is the traitor within the family. Michael sends his bodyguard Bussetta to kill Ola and Roth. Bussetta strangles Ola, but Roth gets away.

Carlo Rizzi

Louie Russo

Luigi “Louie” Russo is a fictional character in Mark Winegardner's _The Godfather Returns_. Russo serves as the Don of the Chicago Outfit from 1955 to 1961.

Louie Russo and his brother, Willy, were 'made' under Al Capone. His brother was one of the men sent to kill Vito Corleone during the Castellammarese War (mentioned in _The Godfather_), although he was eventually killed by Luca Brasi.

Russo holds a grudge against the Corleones for years for his brother's death, at one point attempting (unsuccessfully) to have Vito's son Fredo killed. After Michael Corleone becomes Don in 1955, however, Russo tricks him into believing that the bad blood between them is over. Under Russo, the Chicago mob expands into the New York area and interferes with the Corleones' Las Vegas casinos. Russo unsuccessfully conspires with Vincent Forlenza and Nick Geraci to kill Michael Corleone, in the process indirectly duping Fredo into betraying his brother to Hyman Roth.

In June 1961, he invites Tom Hagen to his supper club/gambling house in rural Illinois with the intention of killing him. He, Hagen, a rower, and two Russo _soldatos_ go out on a gondola in his man-made lake. On the course of the trip, as part of Michael's revenge, Hagen strangles one _soldato_ while the rower hits Russo and the other _soldato_ with his oar. Hagen then personally kills Russo on his boat, with Russo's own gun, and dumps the bodies in the lake.

In his appearances in _The Godfather Returns_, Russo is portrayed as a cruel, vindictive man whose methods of retribution are particularly vicious, even by Mafia standards; in the sequel _The Godfather's Revenge_, Tom Hagen describes Russo as “a sick man, in ways I don't like to think about.” Following an assassination attempt years before, in which his eyes are permanently damaged, he wears large black sunglasses to shield them from the light. When he inadvertently shows his uncovered eyes to Tom Hagen after his glasses are knocked off, Hagen notes that they are red with a green ring in the middle. The novel reveals that Russo is estranged from his gay son, but still uses him as a source of information on closeted rivals for purposes of blackmail and gamesmanship with the other families.

Hyman Roth

Virgil Sollozzo

Virgil “The Turk” Sollozzo is a fictional character in Mario Puzo's novel _The Godfather_. He is portrayed by Al Lettieri in the film adaptation of the same name.

In 1945, heroin kingpin Virgil Sollozzo asks Vito to invest in his operation. Sollozzo is backed by the rival Tattaglia family, and wants Vito's political influence and legal protection. Vito declines, believing the politicians and judges on his payroll would turn against him if he engaged in drug trafficking. During the meeting, Sonny expresses interest in the deal. After the meeting, Vito castigates his son for letting an outsider know what he was thinking. During Christmas, as Vito crosses a street to buy oranges from a vendor, Sollozzo's hitmen emerge with guns drawn. Vito runs for his Cadillac, but is shot five times. Fredo, who had been accompanying Vito, drops his gun and is unable to return fire as the assassins escape.

Vito survives, and Sollozzo makes a second assassination attempt at the hospital. Mark McCluskey—a corrupt police captain on Sollozzo's payroll—has removed Vito's bodyguards, leaving him unprotected. However, Michael arrives moments before the imminent attack. Realizing his father is in danger, Michael and a nurse move Vito to another room. Michael affirms his loyalty at Vito's bedside.

While Vito recovers, Sonny serves as acting head of the family. Michael, knowing his father will never be safe while Sollozzo lives, convinces Sonny that he can murder Sollozzo and McCluskey. Michael kills both men and is smuggled to Sicily under the protection of Vito's friend and business partner Don Tommasino. The deaths of Sollozzo and McCluskey ignite a war between the Corleone and the Tattaglia families, with the other New York families backing the latter. After Sonny is killed by Barzini's men, Vito resumes control and brokers a peace accord among the families, during which he realizes that Barzini masterminded the attempt on his life and Sonny's murder.

Joey Zasa

Joey Zasa is a fictional character and antagonist appearing in _The Godfather Part III_. He was portrayed by Joe Mantegna. He is based on a composite of three real Mafia members: Joseph Colombo, Joe Gallo and John Gotti.[19]

Zasa is a longtime member of Corleone _caporegime_ Peter Clemenza's regime. Following the retirement of Ritchie Nobilio, who succeeded Frank Pentangeli (Michael V. Gazzo) after the events of _The Godfather Part II_, Zasa assumes control over the Corleone family business in New York City with approval from the Commission and Michael Corleone (Al Pacino). Zasa is feared and, to a certain degree, respected among his peers in the New York underworld for his business acumen and utter ruthlessness. However, his flamboyance and hunger for publicity earns Michael's displeasure, especially during the 1970s when it attracts unwanted public attention to Michael's criminal past when he is attempting to rehabilitate his public image. Michael especially disapproves of Zasa's eagerness to enter the drug trade, and distances himself from him.

In _The Godfather Part III_, Zasa first appears at a reception honoring Michael. He gets into an argument with one of his soldiers, Vincent Mancini (Andy García), the illegitimate son of Sonny Corleone. Zasa calls Vincent a bastard in Michael's presence, prompting the enraged young man to attack Zasa. Zasa subsequently hires two assassins to kill Vincent, but Vincent quickly kills both.

Later in the film, Zasa participates in a plot to have Michael assassinated during a meeting with the various Dons in Atlantic City, New Jersey. During the meeting, Michael insults Zasa, prompting him to storm out; moments later, a helicopter containing gunmen hovers above the room and guns down nearly everyone inside. Michael escapes, but nearly every other Don is killed. The survivors make deals with Zasa.

Several days later, Michael's sister Connie (Talia Shire) gives clearance for Vincent to kill Zasa before he can take another run at Michael. Vincent assassinates Zasa in Bensonhurst during a street festival. Vincent's men and Michael's personal assassin Al Neri (disguised as members of the church procession) kill Zasa's bodyguards, while Vincent (disguised as an NYPD Mounted Patrol officer) shoots Zasa in the back three times as he attempts to escape.

Other characters

Amerigo Bonasera

Amerigo Bonasera is a fictional character created by Mario Puzo who appears in his novel _The Godfather_, as well as Francis Ford Coppola's 1972 film adaptation. Though he is not a major character, he plays a vital role in revealing the merciful side of main character Vito Corleone. The novel opens with the words: “Amerigo Bonasera sat at New York Criminal Court...”. The film also starts with his famous line, “I believe in America. America has made my fortune.”

Bonasera is a proud Italian-American undertaker who tends to keep away from the Corleone family, knowing they are involved with the Mafia, though Don Corleone's wife is a godmother to Bonasera's daughter. His daughter is brutally beaten by her boyfriend and his friend for refusing to have sex after they had plied her with whiskey. The men escape any serious penalty because they are from wealthy, politically connected families.

Desperate, Bonasera decides to go to Don Corleone on the day of his daughter's wedding to ask him to kill the young men; according to tradition, a Sicilian never refuses a favor on the day of his daughter's wedding. His proposition angers Don Corleone, who reprimands him for asking for a favor without showing the proper respect, and for seeking the attackers' deaths when his daughter was alive and would recover. Nevertheless, Vito agrees to grant a favor in return for Bonasera's “friendship” and the respectful address of “Godfather”. Vito Corleone also gently reprimands Bonasera for attempting to seek justice through the courts instead of coming to him first.

Vito hands the job to Peter Clemenza with explicit instructions that his men aren't to get “carried away” and accidentally kill anyone. The next evening, Paulie Gatto and two other members of his crew give the men a brutal beating that puts them in the hospital for months. Bonasera sends his thanks to Vito through Corleone family _consigliere_ Tom Hagen. Though feeling safer now that he has Don Corleone on his side, Bonasera begins dreading the day Corleone asks him a favor; he has a nightmare of the Don ordering him to bury the bodies of two men he has just killed.

Later in the film, Hagen calls on Bonasera to finally pay back the favor. Initially terrified, Bonasera is relieved when Vito Corleone comes to his funeral parlor with the corpse of his eldest son, Sonny Corleone, who has been gunned down by the Barzini family. A heartbroken Vito merely requests that Bonasera repair the extensive physical damage so that Sonny's mother can have an open casket. Bonasera is seen one final time at Vito Corleone's funeral; the novel states he had fulfilled all obligations and satisfied their friendship by preparing Sonny's body for burial.

In the 1972 film, Bonasera is played by Salvatore Corsitto (1913–1999).

In the 2006 video game adaptation, Aldo Trapani, instead of Clemenza, is ordered to punish the two perpetrators, who are found in the graveyard outside Bonasera's funeral home harassing Bonasera's daughter. He attacks the assailants, knocking them out and leaving one in an open grave.

Cardinal Lamberto

Lucy Mancini

Lucy Mancini is a fictional character in Mario Puzo's _The Godfather_. She was portrayed by Jeannie Linero and appears in _The Godfather_ and _The Godfather Part III_.[20]

She is one of the childhood friends of Vito Corleone's children, particularly his daughter, Connie Corleone. She is the maid of honor at Connie's wedding. Lucy has sex with Vito's son Sonny at the wedding and begins an extramarital affair with him. The novel and the films diverge in their treatments of Lucy's fate after Sonny's death.

In the novel, Lucy is a fairly important supporting character, with several chapters dedicated to her story. After Sonny's death, Vito's _consigliere_, Tom Hagen sends Lucy to Las Vegas. She is given a small interest (five and later ten “points”) in one of the family's hotels, primarily so that she can keep an eye on Vito's middle son, Fredo, who is learning the hotel and casino business. She also serves as a shareholder-of-record who has no criminal record: several such owners are necessary for a valid gaming license. On paper she is a millionaire, although she does not vote her shares in the casinos. Eventually, Lucy establishes a new life in Las Vegas, and becomes largely independent of the Corleone clan. She is lonely, however, and occasionally pines for Sonny: while never having loved him or even truly known him, she misses him as a lover, and cannot achieve sexual satisfaction with anyone else. That changes when she meets and falls in love with surgeon Dr. Jules Segal. He explains that her difficulty in reaching orgasm is caused by a loose vagina, which commonly results from multiple childbirths. In Lucy's case, this appears to be congenital and can be remedied with simple vaginal surgery. After Segal's colleague in Los Angeles performs the surgery, Lucy is able to enjoy sex again, and she and Jules presumably are happily married.

In Francis Ford Coppola's film adaptations, Lucy's role is minimal. She is seen as a young woman in _The Godfather_, but her character is not featured after Sonny's death. She makes no appearance in _The Godfather Part II_, and in _The Godfather Part III_, she is present in a manner inconsistent with her fate as described in _The Godfather_ novel. Lucy is the mother of Sonny's illegitimate son, Vincent, who eventually succeeds Michael Corleone as the head of the Corleone crime family. She appears briefly as a guest in the party scene at the beginning of the film when Michael invites Vincent to join the family for a group photo. In Puzo's original novel, Sonny does not impregnate her.

Danny Shea

Mickey Shea

Billy Van Arsdale

Aldo Trapani

Albert Volpe

The Five Families

The Five Families are five major Mafia crime families in the novel and film _The Godfather_. The families are based on the real life New York City Five Families, five major Italian American crime families.

The Corleones

The Dons of the Corleone family:

-   Vito Corleone (1920–1955)
-   Michael Corleone (1955–1980)
-   Vincent Corleone (1980–unknown)

The Tattaglias

The Dons of the Tattaglia family:

-   Philip Tattaglia (1920s–1955)
-   Riccardo “Rico” Tattaglia (1955–1962)
-   Osvaldo “Ozzie” Altobello (1962–1980)

The Barzinis

The Dons of the Barzini family:

-   Giuseppe Mariposa (1920s–1934)
-   Emilio Barzini (1934–1955)
-   Paulie Fortunato (1955–19??)

The Cuneos

The Dons of the Cuneo family:

-   Carmine Cuneo/Ottilio Cuneo (1920s–1955)
-   Leo Cuneo (1955–1979)

The Straccis

The Dons of the Stracci family:

-   Anthony Stracci/Victor Stracci (1920s–1955)
-   Mario Stracci (1955–1972)

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[19] M

[20]

title: List of The Godfather characters

question: Who is Vito Corleone?

answer: The leader of the Corleone crime family, and its patriarch portrayed by Marlon Brando.

question: Who is Michael Corleone?

answer: The son of Vito and Carmela Corleone whose journey from family outsider to ruthless mafia boss is the central focus of the novel and films, portrayed by Al Pacino.

question: Why was the scene depicting Michael Corleone exacting revenge for his wife's murder with a shotgun never shown?

answer: Unclear

question: How does Michael save his father from a second assassination attempt?

answer: By moving him to a different room and making the assassins believe he still has armed guards protecting him.

question: Write a ~2 sentence summary.

answer: A list of characters in the film series "The Godfather" with excerpts about their relevance. Everyone from Vito Corleone to Lucy Mancini.


text:
The 1991 SAN JOSE STATE SPARTANS FOOTBALL TEAM represented San Jose State University during the 1991 NCAA Division I-A football season as a member of the Big West Conference. The team was led by head coach Terry Shea, in his second year as head coach at San Jose State. They played home games at Spartan Stadium in San Jose, California. The Spartans finished the 1991 season as co-champions of the Big West conference, with a record of six wins, four losses and one tie (6–4–1, 6–1 Big West). To date, this remains their last conference title.

Schedule

[1][2]

Team players in the NFL

No San Jose State Spartans were selected in the 1992 NFL Draft.[3]

Notes

[1]

[2]

[3]

question: Where any players from the 1991 San Jose State Spartans football team selected for the following year's NFL draft?

answer: No players from the Spartans were drafted.

question: Who was the head coach of the 1991 team?

answer: The head coach for the Spartans 1991 team was Terry Shea.

question: What was the team's record for the season?

answer: The team won six time and lost four times. They were co-champions of the Big West conference.

question: What conference is the team in?

answer: The Spartans are part of the Big West Conference.

question: Write a ~2 sentence summary.

answer: This article gives a description of the 1991 San Jose State Spartans Football team. They had six wins and four losses, and were co-champions of the Big West Conference.


text:
As I walked along the beach, the sand caressing my feet, I stared out at the ocean in it’s vast emptiness. The waves crashed against the shore with a rhythmic pounding that soothed the echoes of voices in my head. The moon was out, bright and inviting, lighting the empty beach around me. I sat down at the base of the water, letting the tide embrace me. I didn’t know why I was here, but I knew it was where I wanted to be.

My life had become a mess, something I couldn’t figure out no matter how hard I tried. Event after event passed around me, until I felt that I was nothing more than a spectator in a horribly acted play based upon me. The actors coming and going, never quite right to the plot, but always there and always acting. The stage began to get cluttered and I found myself pushed aside, as if the story was no longer about me, but those around me.

I watched them wander because that’s all they ever did, wander. They’d reach the stage, act out their lines and exit stage left, their presence still felt despite the emptiness of their bodies and mind upon the backdrop of my life.

I stood back and watched as the actors filled up the stage, their costumes accentuating their different traits. A clown on one corner, trying to make me laugh to forget the screaming in my mind, giggling and playful, but nary cracking a smile upon my wretched lips. A woman, her features mundane, though filled with beauty. She danced her way to me, her face close to mine, before gently placing her lips on mine. She kissed me then, though my lips would not part. She looked disappointed before dancing her way back off stage.

The actors and actresses began to thin, as they played their part in my life and found their exit. That was how it went, in my life. Permanence was not a word that would ever pass my lips. Nothing but the loneliness I felt once they found their way to the end of their plot arcs stayed with me. That’s what my life had become, a series of feeling nothing; loneliness. I inched back more and more, until my back leaned against the set. I watched them go, until it was but me on the stage. The audience left their seats and walked away, the actors had gone on to focus on their lives, no longer a part of mine. The spotlight shone on only me as I walked to the edge of the stage, I whispered my final lines and leapt from the stage, praying someone in the audience would be left to catch me. As I fell, all I could think was that I was a fool for praying.

Snapped back to the reality of my situation, I stared back out at the empty crashing ocean. It’s vast emptiness began to call to me, beckoning. I tried, I swear I did, to ignore it’s calls. Suddenly the realization that vast emptiness was better than the sickening loneliness I felt began to tear me apart. I stood up, not bothering to wipe the sand from all around me. I breathed in deep, scared but knowing it’d all be over soon. Strangely, as I began to walk into the water, a smile broke the static in my face for the first time in weeks. I smiled as the water reached my neck, until finally I was overcome by the waves. The all encompassing emptiness of the ocean swallowed me and I took my final breath, the smile stayed upon my face, until suddenly I was one with it. The void became I, and I became the void.

title: Going through a tough time. My ex told me to write how I felt. This was the result.

question: Why does the narrator feel they are a spectator in a play?

answer: They seem to feel detachment from what's going on in their life.

question: What does the narrator feel their life has boiled down to?

answer: Loneliness.

question: How does the narrator commit suicide?

answer: By walking into the ocean.

question: Who told the author to write this?

answer: Their ex.


text:
JAN WILLEM STORM VAN LEEUWEN (born 1941, Dutch East Indies)[1] is a consultant in chemistry and energy systems. Storm van Leeuwen received his Master of Science, physical chemistry, at the Technical University Eindhoven. He is a senior scientist at Ceedata Consultants. He also develops courses for chemistry teachers for the Open University at Heerlen. He is the secretary of the Dutch Association of the Club of Rome. His two fields of expertise are technology assessment and life cycle analyses of energy systems, focussed on sustainability aspects. He published numerous reports and articles on various topics related to energy and environment, also in peer-reviewed scientific journals.[2]

Nuclear energy study

He is best known for the paper _Nuclear power the energy balance_ that he wrote with Philip Smith (also named _Stormsmith studies_), where they analyzed the energy payback from the entire nuclear power system. The energy inputs were calculated based on various assumptions and guesses about the technologies used in uranium production, rather than actually measuring them. They concluded that the major parameter determining the energy balance was the grade of the uranium ore, and ore grades lower than 180 ppm do not yield an energy gain when used in the nuclear fuel cycle.[3]

The study was heavily criticized, such as a rebuttal by researchers from the Paul Scherrer Institute.[4] With further criticism from Sevior and Flitney who issued the following statement:[5][6]

  _We compared the predicted energy cost [using Storm van Leeuwen's study[7]] of Uranium mining and milling for Ranger, Olympic Dam and Rössing to the energy consumption as reported. All are significantly over predicted (5 PJ, 60 PJ and 69 PJ vs 0.8 PJ, 5 PJ and 1 PJ respectively). [...]_

  _The energy consumption is predicted to be so large that is comparable to the energy consumption of a particular sub-section of the economy. In the case of Rössing, the over prediction is larger than the energy consumption of the entire country of Namibia._

Storm van Leeuwen noted that :

  _The method of Sevior and Flitney based on financial data appears to me full of hidden assumptions, bookkeeping problems, statistical pitfalls and uncertainties._

The paper has been used by anti-nuclear organizations to claim that nuclear power is not clean enough to be considered a part of a clean energy mix.[8]

Other papers

Storm van Leeuwen also presented his previous work as part of another non-peer reviewed controversial paper “_Secure Energy? Civil Nuclear Power, Security and Global Warming_”,[9] published by a think tank, the Oxford Research Group, an institute unaffiliated with Oxford university, in which it argues nuclear power is not a long-term reducer of greenhouse gas emissions.[10]

His original results has been used in a study[11] -'' Life cycle energy and greenhouse gas emissions of nuclear energy: A review. Energy Conversion and Management -'' with several modifications.

Storm van Leeuwen is recognized by Open Democracy as one of their notable authors.[12]

Personal life

Storm van Leeuwen lives in Chaam with his wife, the artist .

[1] Charles Barton, David Fleming and Jan Willem Storm van Leeuwen

[2]

[3]

[4] http://gabe.web.psi.ch/pdfs/Critical%20note%20GHG%20PSI.pdf Dones, Roberto, 2007. Critical note on the estimation by storm van Leeuwen J.W. and Smith P. of the energy uses and corresponding CO2 emissions from the complete nuclear energy chain. Paul Scherrer Institute Policy Report, April |archive-url=https://web.archive.org/web/20111011225201/http://gabe.web.psi.ch/pdfs/Critical%20note%20GHG%20PSI.pdf |archive-date=10 Oct 2011 |url-status=dead

[5]

[6]

[7]

[8]

[9]

[10]

[11]

[12]

title: Jan Willem Storm van Leeuwen

question: What does the text say about what Jan Willem Storm van Leeuwen is most known for?

answer: Jan Willem Storm van Leeuwen is well known for the paper he wrote where the energy payback from the entire nuclear power system was analyzed. The paper was used by anti-nuclear organizations to claim that nuclear power is not clean enough to be considered a part of clean energy. Jan Willem Storm van Leeuwen is currently a consultant in chemistry and energy systems.


text:
 [Craig Shakespeare]
Craig Shakespeare has endured a tumultuous first seven months in management but has adapted impressively to the job Credit: Mike Egerton/PA

It was a Premier League game against Liverpool where it all began for Craig Shakespeare.

He won that match in February - his first as Leicester's manager - but as he prepares for a reunion with Jürgen Klopp on Saturday, even he cannot have envisaged the drama of the seven months that have passed since.

Shakespeare has endured the ultimate crash-course in management after succeeding Claudio Ranieri, a chain of events for which the best coaching manuals can never prepare anyone.

As he settled into a chair in a suite at the King Power Stadium on Friday, he is still struggling to take in the tumultuous 23 games which have flown by since Ranieri's departure.

“That first Liverpool game feels ages ago now and when you sit down and analyse everything that’s happened in that time, it can be frightening,” he says.

Ranieri and Shakespeare won the league together but it did not stop rumours from circulating last season that Shakespeare had stabbed the Italian in the back Credit: Nick Potts/PA

“We’ve had loads of things to deal with – there was me taking over from Claudio, the hardest thing I’ve had to do in my career because of the circumstances.

“People had their ideas of who the villains were and my family were hearing about me being the man who knifed Claudio in the back. It didn’t really get to me because you have to be resilient in football.

“I was still an employee of the club and I didn’t want them to be in the relegation zone. That first result [a 3-1 win] was massive for everyone but it was still nice to walk my dog the following day and return to normality.”

His 11-year-old chocolate Labrador, Alfie, must be one of the fittest dogs in Lichfield, for Shakespeare has spent much of this year striding on the parks near his home in periods of reflection.

After securing top-flight safety he was whisked away to Monte Carlo by Leicester’s owners and offered the job, but those hopes of normality disappeared over the summer.

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First, there was Riyad Mahrez, who put in a transfer request and then spent deadline day hopping around European airports in a bid to force a move.

“I was sitting at home and got a phone call from Jon [Rudkin, director of football] saying the Algerian FA had given Riyad permission to miss the game. It was a real knife-edge time and we were in the hands of other people. We understood he wanted to move because he’d made it clear but the owners wanted a realistic price.

“Dealing with that was another moment in the managerial experience. He came back to training after the window closed and we were calling him Tom Hanks out of _The Terminal_.”

And then there was Danny Drinkwater - another key member of the title-winning squad – who demanded to leave, eventually getting his wish with a £35m move to Chelsea.

It was a moment which still rankles with Shakespeare.

“Sometimes players see the opportunity to move to a bigger club and the financial rewards that might bring. Danny made it clear he wanted to move and didn’t want to be here. The relationship we’d had up to that point had been very good.

Nigel Pearson remains a strong influence on his former assistant Credit: Ross Kinnaird/Getty Images

“I’ll be honest, I wasn’t happy losing one of my best players. The big disappointment is I didn’t want to sell him for any price and ultimately I have to abide by people above me because they run the club.”

Finally, the biggest head-scratcher of all. Sporting Lisbon midfielder Adrien Silva was targeted as Drinkwater’s replacement and though a £25m fee and terms were agreed, Leicester were 14 seconds late filing paperwork. Silva, and Leicester, are still waiting for the green light from Fifa to ratify the deal.

“You can do all the courses in the world but I’ve never encountered this before. How can you call Sir Alex Ferguson, for example, and ask him about that one?

“Legally somebody might tell me I’m not allowed to talk to him but the human side says you want to find out how he’s feeling. He’s a footballer in limbo through no fault of his or mine. You want to make him feel appreciated, which is why I invited him into the dressing room to see the players on Tuesday night [after the Carabao Cup win over Liverpool].”

Despite all the turmoil, Shakespeare – or ‘Shakey’ as he is more commonly known - has adapted impressively to management after spending most of his coaching career as a No2 under Nigel Pearson and Ranieri.

His reputation on the training field is exemplary, temporarily earning him a place on Sam Allardyce’s England staff, while he is also a shrewd tactician, spooking Atlético Madrid in last season’s Champions League quarter-final by switching to three at the back at half-time.

Pearson, who returned to football on Friday by joining King Power owned OH Leuven, remains a major influence.  “Nigel has not only been a work colleague but someone I’ve grown up with during my football development. I’m really pleased to see him back in.

“We stayed together at Hull, came back here and I would say Nigel has been my biggest influence from a coaching point of view.

“He’s just a nightmare to get hold of. I must have about six phone numbers next to his name, but even then you can’t get him. He’s either walking up a mountain or somewhere with no reception.”

Shakespeare’s other influences may surprise you. He was a left-footed midfielder as a player and Tommy Coakley, his manager at Walsall in the late 1980s when the club won promotion from the old Division Two, and West Brom’s Bobby Gould figure highly.

“They both taught me a lot. With Bobby, I’ll never forget when we went to Shrewsbury on the last day of the season with 4,000 fans there. He wasn’t a popular choice and we’d had an average season. We had a pre-match meal in the hotel and he suggested we take the 10-minute walk to the stadium instead of getting on the coach.

“We got recognised quickly and the fans were carrying mock coffins with Bobby’s face on the side. I was thinking: ‘Wow, he’s got a real thick skin.’ But it was about him saying we could deal with anything. It was about team spirit and togetherness, it really stuck with me.”

Has Shakespeare changed since becoming a No1? “The job does take up a large chunk of your life. I switch off in the summer but during the season it’s difficult, I don’t want to let anyone down.

“I quite enjoy my own space at times, but I don’t want to change. As an assistant I loved being just under the radar. As a Premier League manager you can’t do that so much. But you know what? That’s part and parcel of it and if you don’t like it, don’t do it.

“The only thing that would probably surprise people is that I once got to the last 20 of the England under-16 volleyball trials.

“Win, lose or draw against Liverpool, I’ll be walking the dog on Sunday.”

question: Who is the subject of the article?

answer: Craig Shakespeare

question: What sport is being discussed in the article?

answer: Soccer

question: What does Craig Shakespeare do?

answer: He is a manager of Leicester.

question: Who do the rumors claim that Shakespeare stabbed in the back?

answer: Claudio Ranieri

question: Write a ~3 sentence summary.

answer: Craig Shakespeare has done well as manager of Leicester for seven months since his first game against Liverpool. Rumors have been claiming that Shakespeare stabbed Claudio Ranieri in the back, despite them winning the league together. Shakespeare discusses his first seven months as manager, along with some of the challenges he faced.


text:
_TOTTIE: THE STORY OF A DOLL'S HOUSE_ is a 1984 stop motion animated television series produced by Smallfilms, directed and narrated by Oliver Postgate. It is based on Rumer Godden's _The Dolls' House_, originally published in 1947, and focuses on the toys in a Victorian dolls' house belonging to sisters Emily and Charlotte Dane. The programme debuted on BBC1 in the UK on 6 February 1984.

The series has a very dark edge, as the dolls wish very hard that good things will happen and that they will not fall on misfortune. The series opens with the phrase “Dolls are not like people. People choose, but dolls can only be chosen.”

Plot and characters

The dolls are a family consisting of:

-   Mr Plantaganet, who is clumsy and timid and spends the day reading his newspaper;
-   Birdie, his happy wife, an inexpensive celluloid doll from a Christmas cracker;
-   Apple, their son, a plush velvet baby boy doll, “no bigger than your thumb,” who often speaks in rhyme;
-   Darner the dog, made of clipped wool with a darning needle for a backbone.

Also living with the dolls is a painted wooden farthing doll called Tottie, who is thoughtful, sensible and keeps them all together. Mr Plantaganet, Birdie, Tottie and Apple consider themselves a family, and the series starts with them living in a “draughty shoe-box”. Only Tottie remembers living in a real dolls' house, a long, long time ago, and the rest of the dolls urge her to tell them all about it: a sitting room with real wallpaper, a fire of shining red paper, a lamp with a white china shade “that would really light up if you used a birthday candle”. Tottiie also recalls her former housemate, an antique china doll called Marchpane, a very grand doll, clothed in lace, with eyes of the finest blue glass. The dolls wish they lived in a dolls' house like this, but Mr Plantagenet points out that what they really wish for is to live in that exact dolls' house.

After Emily and Charlotte inherit a dolls' house from their great-aunt, the doll family are moved in. The house has a green front door with a knocker and six steps. When the Plantaganets and Tottie first move in they cannot believe their luck at finding such a splendid and well-equipped home. They soon realise that this is the very same dolls' house in which Tottie had once lived, just as they had wished. However Tottie is immediately sent away to an exhibition of dolls where she is reacquainted with Marchpane, who had been sent away for cleaning prior to being in the exhibition.

After narrowly avoiding being adopted by the Queen, Tottie returns to the others in the dolls house. However, the sisters are given Marchpane which they place in the house with the Plantaganets. She is selfish, nasty and schemes to become foremost in Emily and Charlotte's affection, convincing them to reduce the other dolls to being her servants. She loathes Birdie's pleasant and trusting nature, detests Mr Plantaganet's weakness, and does her best to turn Apple against his mother.

Having gained the affection of the Dane sisters, Marchpane uses the dolls' house lights, which contain real paraffin, to start a fire and trap Apple. She guesses that Birdie will try to save her little boy, and knows that as Birdie is made of celluloid she will quickly burn. Birdie saves Apple, but is incinerated as Marchpane planned—though, because of her simplicity, she appears to enjoy the novel experience.

Emily and Charlotte discover the fire and decide from her haughty look that Marchpane is to blame. This turns the sisters against Marchpane - they desire to throw her away but are persuaded to instead permanently donate her to a museum where, in a glass case and under the constant admiring gaze of visitors, she lives happily - and increasingly vainly - ever after.

The remaining dolls settle down to life in the doll's house. While discussing Birdie's demise, Tottie remarks that “Birdie did look beautiful in the flame”, and Mr Plantaganet agrees.

Second series

There were two series made - _Tottie: The Story of a Doll's House_ (1984), of which the BBC retained copies, and _The Doll's Wish_ (1986) which, as it was transmitted from VT, the BBC did not keep. Both series were classed as purchased programmes, which the BBC was not required to archive. Smallfilms did not retain their own copies. A few low-grade VHS copies of the second series did survive in private hands.

One such “faded” VHS copy of the second series was restored to watchable condition by the _Dragons' Friendly Society_ (an organisation founded by Oliver Postgate and Peter Firmin.) The Society released the first series on DVD with individually-burned DVD-R copies of the second series offered for sale exclusively to buyers of the first series DVD.[1]

Background

Rumer Godden's original children's book was written shortly after the Second World War. It is unusual in the sensitive way it exercises children's emotions. Marchpane still sends shivers down the spine, and the shocking fate of Birdie startles the reader with its reality. Initially Godden disliked the idea of Oliver Postgate reproducing the book.

Godden's publisher, Kaye Webb, founder of Puffin Books, did not see the point of the exercise either, asking “Can you really make a film in which the real life adults not only say nothing but don't even move, whilst the dolls speak and come to life?” If these hurdles were not enough, the BBC shied away from the directness of a film that showed on screen the destruction of a favourite character. Initial doubts were replaced with enthusiasm and Godden took part and persuaded her publisher, her literary agent and his family, as well as Peter Firmin and Oliver Postgate, to take on the roles of the real life characters. The film was bought by Goldcrest and sold to the BBC.

The first series was originally transmitted in February 1984, and repeated in October/November 1985 and September 1988. The second series was originally transmitted in September/October 1986 and repeated in September 1987 and December 1991/January 1992, making it a very rare example of a series transmitted as late as the 1990s on BBC TV which subsequently was for a substantial period of time no longer believed to exist in broadcast quality.

Production staff

-   Peter Firmin: puppets and settings
-   Josie Firmin: doll dressing
-   David Heneker: music
-   Kaye Webb: producer

[1] Tottie, the Story of a Dolls' House, Dragons' Friendly Society Accessed 24 March 2019

title: Tottie: The Story of a Doll's House

question: What does the text say about "The Story of a Doll's House" production?

answer: "The Story of a Doll's House" television series was produced by Smallfilms in 1984. It was directed and narrated by Oliver Postgate, based on the children's book that was published in 1947. The series' reproduction was initially disliked by the original author of the book but he eventually became enthusiastic and took a role of a real life character.


text:
There once was a man. He lived in the very top floor of an apartment, an old thing, but it still had its beauty. Throughout the course of every night, since he moved in, he could be heard playing the violin. It was so beautiful, so sad, so unearthly…

He lived in his small attic room for over thirty years; everyone was used to his music by now, a lullaby for them. When the man was too old to leave his room, there moved in a young new tenant
this tenant was frustrated, wasn’t able to sleep in peace, yes he admired the music, but it was unsettling, he felt that the music was seeping into his mind, filling it with memories… or where they?

The tenant, so tired, left to visit to the old man. He was going to complain. He knocked and knocked but there was no reply. He knew the old man was in there, the violin could be heard, crying out to the building.

He tried to open the door, but it was stuck. He worked it a bit more and finally the door opened. A cloud burst over the new tenant, suffocating him in darkness. The cloud fell to the ground; there was a crunch for every step the man took. On closer watch, the man noticed that it was the remains of butterflies, so many butterflies. So beautiful, they were of all colours, yet none, they were the colours out of space, impossible.

The tenant walked into the room, but found nothing, no food in the cupboards, no sign of the man, or his beloved violin. The tenant was dazed “how could that be” he thought. He decided to leave the room and go back to his apartment, believing it to be all just a bad dream.

Crunch went every step

Crunch. Crunch.

He closed the door behind him, but the moment the door locked, the violin could be heard. Bewildered, he went to open the door. It wouldn’t open again. This time the tenant peered through the keyhole to see if he could see the man.  All there was, was an unfathomable darkness. As he was looking through the keyhole, he saw the colours again, but slowly the music became a hum, one hum sang by thousands, if not millions of beautiful, tiny creatures.

Then it stopped

It shot through the keyhole into the tenants head, blackness ensued as he fell into the living abyss. He woke up the next morning, no recollection of the night before. He carried on with his daily routine

Get up, eat go to work, come home eat go to sleep.

But this night was different. He slept peacefully, lulled by the music, his dreamless sleep fueled by the hum.

title: Nothing Can Stop Me Now/Butterflies

question: Who lived on the top floor of the apartment?

answer: An old man lived on the top floor of the apartment.

question: What happened to the new tenant?

answer: The new tenant was unable to take the violin's music. He went to see the old man but the old man didn't open the door. He pushed the door open and a box of dead butterflies fell on him.

question: What did the new tenant find in the room?

answer: The tenant walked around the room but found nothing. The old man and his violin weren't there too.

question: What happened when the new tenant closed the door?

answer: As soon as the tenant closed the door, the music came back on. He peered through the keyhole, but saw nothing. Then, he saw colors and they shot into the tenant's head.

question: Write a ~6 sentence summary.

answer:
An old man lives on the top floor of an apartment. He plays a violin every night. However, a new tenant gets frustrated with the music and goes to check on him. He doesn't find anything in the apartment and is struck by the music when he leaves the apartment again.

He wakes up the next day without any memory of the night before. However, from then on, he sleeps peacefully to the music.


text:
[Charlize Theron plays an overworked mom in “Tully.”]

Credit...Kimberly French/Focus Features

Tully
    Directed by Jason Reitman
    Comedy, Drama
    R
    1h 35m

-   May 3, 2018

“Tully,” a tragedy that thinks it’s a heartfelt comedy, stars Charlize Theron as a struggling mother. So let’s play along with this fantasy (for a bit). When you first meet her character, Marlo, she’s executing the familiar balancing act and juggling a pair of kids — with another one on the way — a husband and a two-story house that looks like it would take hours and hours to vacuum. The golden light that settles on her like a celestial mantle suggests that Marlo’s life is heavenly at least in moments, even if her clenched expression and haunted eyes read more like distress signals.

Marlo is doing the contemporary supermom thing and, refreshingly, she isn’t doing it with 1950s clichéd desperate smiles. Directed by Jason Reitman from a script by Diablo Cody (this is their third movie together), “Tully” admits that this figure is a noxious delusion, one that isn’t suitable for real women. Nevertheless they’re made to feel guilty for not doing it all or scolded for trying to live up to impossible standards. And soon enough the golden nimbus surrounding Marlo vanishes, swept away by the reality of hustling two children off to school while waiting for her water to break. (Lia Frankland plays the 8-year-old Sarah; Asher Miles Fallica plays the younger, ambiguously troubled Jonah.)

Mr. Reitman, as he does, goes for nice and easy, and everything in “Tully” flows when it doesn’t rush, picking up characters like Marlo’s husband, Drew (Ron Livingston), and her conspicuously wealthier brother, Craig (Mark Duplass). The casting of Mr. Livingston and Mr. Duplass — who look more like brothers than Mr. Duplass and his actual brother, Jay Duplass — plays like a joke without a punch line. All it really suggests is that Marlo, in marrying a less successful version of her brother, has some provocative psychosexual issues that the movie can’t be bothered with, mostly because it’s one of those character-driven stories that reduce personalities to a set of readily defined traits and quirks.

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A preview of the film.
To wit: Marlo is a quick draw when it comes to deadpan looks and sharp quips, but also, and of course, loving and exceptionally competent. Drew is a bland hard worker who plays video games in bed at night when Marlo crawls under the covers, a pattern that continues after she delivers their third child. Some might smack Drew’s joystick out of his hands and the rest of his sorry self out of bed — Ms. Theron is such a naturally strong presence that it’s hard to believe Marlo would put up with his nonsense. But that would get in the way of the story’s conceit and antediluvian take on gender roles.

And so it goes: Marlo cares for the kids while Drew works and plays, occasionally pausing to deliver one of those slightly surprised nice-guy looks that the likable Mr. Livingston has a near patent on: eyebrows gently perturbed, face drained of readable emotion, voice slightly rising as if in innocent protest. Drew and Marlo’s division of labor would be fine if it were equitable. But fairness wouldn’t jibe with the story’s plans for Marlo, much less enlightenment. Her burden is treated as grist for comedy, notably in the repeated images — fluttering like a flip book — of her enduring a lonely maternal crucible as she feeds and diapers the newborn again and again.

Marlo is rescued by Tully (Mackenzie Davis from the late, great AMC series “Halt and Catch Fire”), a night nurse whose job is to take over for exhausted mothers, allowing them much-needed sleep. Ms. Davis is a sparky, charismatic performer, and, much like her character, she whooshes into the story, infusing it with energy and scattering good vibes like a punk Tinker Bell. Under her caretaker’s attentive, adamant watch, Marlo again starts to smile, re-entering the world of the living. She brightens and so does “Tully,” which morphs into a female-friendship movie, complete with a nostalgic girls-wanna-have fun playlist calculated for maximum audience head-bobbing.

Ms. Theron and Ms. Davis make a pleasurable, watchable pair — Ms. Davis is obviously happy to be the moon to Ms. Theron’s sun — but “Tully” isn’t really interested in the sustaining joys of female bonding. It has a message to deliver, which is as sincere and decent as it is obvious: Mothers need help, sometimes serious help. Which is why it’s strange that as Marlo very visibly sinks into postpartum depression — you can see Ms. Theron pulling Marlo deeper and deeper inside — the movie pretends that her burden is somehow too hidden for anyone to notice. Much like her useless husband, it isolates Marlo, and once again it is a woman who’s the problem that needs solving.

question: What kind of an audience do you think the writers, producers, and director had in mind for "Tully"?

answer: It seems this movie was made for women who have experienced being overwhelmed by the duality of expectations set on mothers in many different societies and cultures. Perhaps a woman who faces the injustice of being expected to handle having a child and a career would feel vicarious relief from seeing these woes unfold onscreen. It could also be a relatable tale for women who might be experiencing, have experienced, or will experience postpartum depression- it is a very real diagnosis that negatively affects the lives of many mothers.