The Thing at the Well
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"The Thing at the Bottom of the Well" is a short-story included in the self-published magazine People, Places and Things. The story concerns a small boy who enjoys torturing animals: he tears out the wings of flies, kills worms, or maltreats a dog with needles. This story won’t take but a brief moment to read, in its entirety, but I found it quite intriguing, and I love getting an idea of the twisted little scenarios that haunted an extremely young Stephen King. This story just feels like Stephen King, young or not, this one stands out.
After the Catholic Church is decisively crushed in Italy, it finds refuge in Ireland , "the last bastion of Christianity ". Ireland is also subdued, and then Catholic resistance is maintained only in Latin America , under "a coloured Pope in Pernambuco ", until it too is finally put down.
Wells gives considerable attention to the fate of the Jews. In this history, an enfeebled Nazi Germany is incapable of systematic murder on the scale of the Holocaust. However, Jews greatly suffer from "unorganized" persecution, and there is a reference to anti-Jewish pogroms happening "everywhere in Europe" during the chaotic s. Then, in a world where all nation-states are a doomed anachronism, Zionism and its ambition to create a new state come to naught.
In the later struggle between the emerging world state and its opponents, Jews are seen as caught between the hammer and the anvil. Following the launch of its antireligious campaign, the Modern State closes down all kosher butcheries still in operation, while the opening act of the "Federated Nationalist" rebels opposing this state is to perpetrate a pogrom against Jews in the Frankfurt area. Eventually, in Wells's vision, it is the Modern State's forced assimilation that triumphs and the Jews, who had resisted earlier such pressures, become completely absorbed in the general society and lose their separate identity.
In the s, especially after the collapse of the Weimar Republic and the rise of Nazi Germany , the survival of European Democracy seemed in doubt. Wells - not a great supporter of Democracy even in its more robust times - clearly shared this outlook. The future history book, from the vantage point of , notes that at the outbreak of war in France was still a Parliamentary Democracy - the implication clearly being that that was an outmoded form of government, on its way out.
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The visionary Gustave de Windt, setting out the blueprint for the coming "Modern State", rejects categorically " The Principle of Opposition " - which by definition rules out Parliamentary Democracy. Wells' posterity remembers Fascism more as a ridiculous and stupid movement than as a horrible one. In the war envisioned in the book, an enfeebled Nazi Germany got bogged down in its war with Poland , never achieved vast conquests nor engaged in a systematic murder of Jews , and finally collapsed and disintegrated no mention is made of Hitler 's ultimate fate, and the historian of clearly considers it unimportant.
German Nazism disappears without a trace, and an attempt to revive Italian Fascism is easily swept away by the resurgent Modern State. The book notes that many people who were Fascists or Nazis in their early years had become staunch adherents of the Modern State in the more mature part of their lives.
This posterity remembers Stalin as having been narrow and limited in his understanding, but not as a bloody dictator.
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The Soviet Union is less effected than other countries by the worldwide chaos and disintegration of the late s and the s. With the rise of the Modern State, Russia experiences a bloodless takeover by the pilots and other skilled technicians, who displace the Communist Party bureaucrats and eagerly assimilate into the new worldwide state.
Altogether, of the three competing systems of government - Democracy, Fascism and Communism - only the last would be remembered by Wells' Modern State as having been to some degree a predecessor of itself. The two share the same basic outline of humanity's future — i. Wells explicitly acknowledges this relationship in the book itself; when the future history book discusses the "Dictatorship of the Air" and its leadership, it is noted that "As Aldous Huxley, one of the most brilliant of the reactionary writers, foretold of them, they tidied up the world".
The crucial difference, of course, is in the kind of future society built up in the two books. The future society envisioned by Huxley is rigidly hierarchical, divided into five psychologically-conditioned classes, ranging from the highly intelligent and assertive Alphas on top to the subservient and moronic Epsilons at the bottom. As Huxley's cynical administrator Mustafa Mond asserts, such moronic underclasses are absolutely essential as society's "gyroscope" — since a society composed entirely of the intelligent and assertive "Alphas" would inevitably collapse in all-out conflict, as each of its members would seek to improve his or her position at the expense of the others.
It was this vision which, in Wells' view, would cause Huxley to be remembered by posterity as a "reactionary writer". Much of Shape of Things to Come is devoted to demonstrating that — given a century-long dedicated and intensive work by an elite possessing complete control of world education — such a society of intelligent and assertive "Alphas" could be made harmonious and functional, with no underclasses under them. Wells loosely adapted the novel for the screenplay of the film Things to Come , produced by Alexander Korda and directed by William Cameron Menzies , and released in Although credited to H.
Wells , the film takes only its title and some character names from the original source material. The film's plot has no relationship to the events of the book. The film was an attempt to capitalise on the popularity of such recent successes as Star Wars , and TV series such as Space: This version presents events as taking part in an alternate timeline which Raven is shown, rather than the dreams of the original novel. Theodore Wein [4] pointed out that "Wells' Things to Come was at its most influential in the six years between its publication and the moment when the course of its predicted war was overtaken and overshadowed by the actual fast-unfolding events of the Second World War.
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The Thing at the Bottom of the Well
Otherwise meta threads may be removed. Why have people been saying, "Well, here's the thing One of Unidan's last comments before his illegal alt accounts were discovered started with, "Here's the thing, you said a jackdaw is a crow It was in a thread in which people were discussing a silly video of a bird, which most people described as a crow.
Unidan stepped in with one of his upbeat fun-facts explaining that it's actually a jackdaw. Someone told him he was being overly pedantic and that jackdaws are a type of crow.
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This came as a shock, since the crow family is Unidan's specific field of biology research and no one had ever second-guessed him on here before. As someone who is a memeologist who studies circlejerks, I am telling you, specifically, in memetics, no one calls copypastas circlejerks. If you want to be "specific" like you said, then you shouldn't either. They're not the same thing.
If a thing is worth doing, it's worth doing well.
If you're saying "circlejerk family" you're referring to the memetic grouping of shitposting, which includes things from trolling to attention whoring to reposting. So your reasoning for calling a copypasta a circlejerk is because random people "call the unfunny ones circlejerks? Also, calling someone a human or an ape? It's not one or the other, that's not how taxonomy works.
A copypasta is a copypasta and a member of the shitposting family. But that's not what you said. You said a copypasta is a circlejerk, which is not true unless you're okay with calling all members of the shitposting family circlejerks, which means you'd call dank memes, karma whoring, broken arms, and novelty accounts circlejerks, too. Which you said you don't. He said "here's the thing" explained the difference between crows and jackdaws and then got banned because he was manipulating his upvotes with multiple accounts.
Use of this site constitutes acceptance of our User Agreement and Privacy Policy. The anticipation and final outcome of this prequel have been split right down the middle, was it a good idea in the first place? For me this has not been as bad as I expected in all honesty, I have seen much worse in recent years with the influx of reboots and remakes and this prequel isn't all that bad. Yes the big wigs have been rather crafty, they wanted a sequel but decided not to out of fear I think, same for remake, why remake a cult? So yes its more of the same and it all looks the same seeing as its set right before the original, OK no problem.
The look is good, sets are good, costume is good, it all looks really real, cold and the cast are actually quite decent, wisely using unknowns for the majority. I also liked the kind of 'Alien' feel to the build up with Winstead clearly having a Ripley type character of sorts. Problem one of course is the effects, personally I think its a mixed bag, its all CGI of course but some of it looks pretty good whilst other bits look poor.
I think the effects department including Woodruff Jr. I think the 'Juliette-thing' looked really good simply as a huge razor teethed gaping maw on legs with her head dangling round the back and there are some nice moments such as Griggs starting to transform.
Datoteca:Victor Gillam A Thing Well Begun Is Half Done 1899 Cornell CUL PJM 1136 01.jpg
Unfortunately the rest does seem rather unoriginal and dull simply utilizing the age old tentacles notion that doesn't really fit with the original and with later designs that looked like a Sarlacc with legs or something from the Resident Evil franchise. One thing that did disappoint me was the lack of info on the creature, I was really hoping for some insight on its background.
Where it may have come from and why? So many questions but you get nothing which is a shame really, maybe some don't wish to know but I'm just real curious. The whole film does seem a little pointless I admit as we can all guess what happened before the creature makes it into Carpenters film. But I do think they addressed the continuity quite well despite one or two issues and I loved how they made this prequel flow perfectly into the old original.
Not really scary or that dark and forboding but its not too far off. Not sure what is suppose to have happened to Kate in the end and the whole dog ending also made me think why not just run off in that form right from the start? I quite liked it, better than most are saying methinks. My advice is simply watch this then the original Carpenter film straight afterwards and this film actually does seem a lot better than you might have previously thought, they do connect together nicely.
Retrieved January 24, The Thing was released in to very negative reviews. Ernie Hudson was the front-runner and was almost cast until they met with Keith David. Carpenter said that Lancaster's experience writing ensemble pieces did not emphasize single characters. Another factor was the R rating it was given, restricting the audience to those over the age of 17 unless accompanied by an adult. My career would have been different if that had been a big hit
An Arctic research team discovers an alien spaceship buried in the ice and unwittingly unleashes a hostile life form that is capable of absorbing and duplicating any living creature it comes into contact with. Touted as a prequel to John Carpenter's seminal horror classic, every single major plot point is exactly the same as the film and so this "reinvention" is really just yet another example of Hollywood's seeming attempt to remake every film of the s.
In fact, like The Invasion before it, The Thing is in fact a remake of a remake and while Carpenter's film was a sublime exercise in paranoia and suspense, this version follows the usual modern horror formula of "hottie chased through darkened rooms by CGI monster". That's not to say that this film is awful by any means and it is in fact a pretty decent shocker and the bridging sequence during the closing credits is actually really well done. But given the choice between "stone cold classic" and "okay monster movie" I know which I'd choose every time, which begs the question "What was the point?
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