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» Soula Proxenos
Soula Proxenos
Adjunct Lecturer
Background and Education
Soula Proxenos is an adjunct lecturer at Johns Hopkins SAIS and the Carey Business School. She is an independent non-executive director of several organizations, consultant, and advisor.
She was formally Managing Director of International Housing Solutions (January 2017). She led the effort in founding South African Workforce Housing Fund. The fund had its first close in 2006 and has approximately $220million of capital—amongst its investors is OPIC, Citi, MacArthur, and PSP. As founder, she developed the concept, was responsible for staffing, raising the capital, strategy and government relations. She was co-chair of the investment committee since inception. IHS closed its second fund, bringing its AUM to over $500 million. She was with the group for eleven years and remains on its advisory board.
Previous to this she was Managing Director of Fannie Mae's International Housing Financial Services for seven years. She had responsibility for the P+L of Fannie Mae's international consulting services and training programs, assisting in the development of market-based housing finance systems in over 35 countries.
Ms. Proxenos has more than 30 years of financial services experience. She has managed P+Ls, opened new markets globally, had responsibility for transforming Old Mutual's business prior and during the South Africa's political transformation.
Ms. Proxenos received a BA from the University of Witwatersrand and an MBA. from the University of Stellenbosch, in South Africa.
Public-Private Partnerships: Investing in Emerging Economies (SA.400.756)
The course has ...
The course has been designed to help students understand what public value can be created and what complex public policy problems can be addressed by employing the techniques and structures used in public-private partnerships (PPPs). Public-Private Partnerships are collaborative structures supported by public, private or even non-profit partners who agree to share risks, resources and decisions in building and implementing certain projects. PPPs address issues with financing, operational capacity, inadequate human capital. The parties to a solution may share powerful motivations to create public value by addressing a particular problem but may not agree on how it should be addressed, by whom, at what risk, and for what incentives. The course will discuss how the integration of economic and social PPPs can improve a country's competitiveness. While economic PPPs are created to address strategic economic development goals, social PPPs focus more on assets that lack adequate revenue sources and require subsidies. An increasing number of countries are seeking a fusion of economic and social PPPs, especially with regard to water, education, and healthcare. The skills needed to effectively develop and integrate economic and social PPPs include negotiation, political management, innovation, and financial structuring. Case studies and readings will be used to illustrate the wide spectrum of situations and challenges associated with managing PPPs and the types of issues that will benefit from PPPs in international development.
1740 Massachusetts Ave., NW Washington, DC 20036
SAIS Europe
via Beniamino Andreatta, 3 (formerly via Belmeloro, 11)
40126 Bologna, Italy
+39.051.2917.811
The Hopkins-Nanjing Center
162 Shanghai Road
Nanjing, Jiangsu Province 210008


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Nain A. S., Phillippi J. A., Sitti, M., MacKrell, J., Campbell, P. G., and Amon, C., "Control of Cell Behavior by Aligned Micro/Nanofibrous Biomaterial Scaffolds Fabricated by Spinneret-based Tunable Engineered Parameters (STEP) Technique", Small, 4(8), 1153-1159, 2008.
Nain, A. S., Amon, C., and Sitti, M.,"Proximal Probes Based Nanorobotic Drawing of Polymer Micro/Nanofibers", IEEE. Transactions of Nanotechnology, Vol. 5(5), pp499-510, 2006.
Nain, A. S., Wong, J. C., Amon, C., and Sitti, M., "Drawing Suspended Polymer Micro/Nanofibers using Glass Micropipettes", Applied Physics Letters, Vol. 89(18), pp. 183105-7, 2006. Selected for Virtual Journal of Nanoscale Science & Technology.


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Watch the official video of song Baarish from Bollywood movie Yaariyan starring Himansh Kohli, Evelyn Sharma, Serah Singh, Dev Sharma, Rakul Preet Singh, Nicole Faria, Shreyas Pardiwalla etc. Song is sung by Mohd Irfan and Music/Lyrics are by Mithoon.
Ke Mil Jaaye Isse Woh Baarish Jo Bhiga De Poori Tarah!!


Epilepsy is defined as a disorder occurring due to disturbance in normal flow of electrical signals in brain. Epilepsy is also termed with the name of seizures and convulsions.
Epilepsy is a neurological disorder, in which there occur disturbance of the nervous functions. Epilepsy is term used for a disorder in which a person suffers from repeated attacks of seizures (convulsions).
Seizure is a term used due to disturbed electrical impulses of brain person shows an abnormal behavior and attention.
In seizures due to disturbed electrical impulses in brain the neurons or nerve cells send deranged signals to different parts of body. And due to these deranged signals the part affected react abnormally such as people show strange behavior, emotions, and strange sensations.
Some people may lose normal conscious or have violent muscle spasm.
These deranged abnormal signals by brain are created due to some underlying disease or illness of the brain such as trauma to brain tissue, or abnormal brain development of fetus due to ill health of mother, or any other disease condition of brain as tumor.
Seizures are the deranged manifestation of cerebral cortex part of brain.
Cortical neurons present in cerebral cortex part of brain have a net of electrical signals which help a person to perform his daily routine work.
Due to some sudden excitation force from outside body or any disease condition of brain the network of signals get disturbed. When this sudden imbalance affect the excitatory and inhibitory forces present in the network of cortical neurons leads to the formation of seizures.
Clinical manifestation in epilepsy depends on the area of brain involved.
Superficially there are mainly two types of seizures focal -onset-seizures and generalized-onset-seizures.
Mechanism working in brain to produce focal-onset-seizures is travelling of focal interictal epileptiform spike or wave in a wrong way. This charge of electrical impulse travel in single cortical neuron through PDS (paroxysmal depolarization shift) process.
In epilepsy when visual area of cortex show derangement then epileptic attack involves visual instability.
In epilepsy when or pharyngeal area( i.e. mouth, jaw, tongue) of cortex show derangement then epileptic attack shows sudden changes in these organs as clenched teeth, or twisting of tongue, or salivation excessive.
In cases of generalized seizures the mechanism of travelling of defected impulse is same but in this type of epilepsy multiple areas of cortex are involved at a time and patient reflects multiple body deficits during attack.
Defected impulses travel through multiple cortical neurons and whichever the neuron is involved that particular part is deranged.
Epileptic attacks can occur at any age group. Age group can involve from new born infant to an old age person. Any age group and any gender can suffer from this disorder.
Epilepsy is prevalent in 1 out of 100 persons.
35% cases of epilepsy show complex partial seizures. Countries where cystisercosis is more prevalent show history of more prevalence of partial seizure. Partial seizure cases are more prevalent in higher age groups.
• Vascular malformation in the vessels of brain.
• Infections of central nervous system.
• Hypoxic-ischemic brain injury due to embolism in vessels supplying blood to brain.
• CNS inflammation due to immune response.
• Malformations in the cortical part of brain.
• Hippocampus sclerosis is also included as one of the cause.
• Inherited defects of cortex.
• Clinical signs and symptoms of epilepsy depend upon the area of cerebral cortex affected.
• Onset of attack of seizure start with some particular signs which reflect that attack is going to occur and that collection of early signs are known as aura.
• Aura includes particular visual affect or particular smell.
• After the attack of seizure patient is tired and have a lot of weakness unable to perform work after attack and want rest. Some patients do not even remember what happened during attack.
• Sign and symptoms depend on the area of brain deranged.
• Consciousness is not lost.
• Jerking affects in arm or leg.
• Disturbance at visual plane that is flashing of lights.
• Abnormal smells during attack.
• This type of seizutre starts in face or hands.
• Loss of consciousness is present in this type or there may be slight alteration in consciousness.
• Patient makes sounds having no meaning.
• Jerking of one limb or both the limbs.
• Patient memory suddenly vanishes as where he was 5 minutes ago.
• Even after the attacks the patient is lost in his own world unable to answer the questions.
• Patient star at a particular thing with suspicion.
• Very common type of seizure in children who are below the age of five.
• Cause of the seizure is fever.
• Epileptic attack is associated with fever.
• Meningitis to be find out if present because if meningitis is present in child then condition is critical.
• Babies suddenly bend forward on neck.
• Infantile seizure occurs only for few seconds but attacks are repeated.
• Baby cries after attack.
• Also called with the name of drop attacks.
• It is called drop attacks because there is sudden loss of muscle tone.
• Patient does not loss conscious but fall to the ground due to loss of muscle tone.
• In this type of epilepsy there are small attacks of body jerks.
• Occur in children and there is loss of conscious lasting for 30 seconds.
• There is fluttering of eyelids.
• Children are not aware of surroundings during attack.
• Patient forget what happened in attack.
• Muscle spasm seen throughout the body, loss of consciousness and falling.
• Attack last for 2 minutes.
• Patient is tired and confused about.
• If patient falls during attack fracture of bone can occur or injury to the part on which the patient falls.
• If patient is suffering from epilepsy and perform swimming, possibility of drowning is increased.
• Car accidents can occur if patient suffer from attack during driving.
• Epilepsy causes complications during pregnancy.
• Stress level increases during epilepsy.
• Some threatening conditions are status epilepticus; sudden unexplained death due to epilepsy is also seen.
How to Investigate Epilepsy ?
• Neurological examination of the patient. History taking plays important role in getting type of seizure and severity of attack.
•Other investigations include diagnostic tools i.e.
Single photon emission computerized tomography.
Anti epileptic drugs are helpful.
Increase of dosage depends on the severity and recurrence of attack.
• Decrease of bone density.
• Dizziness all the time.
Depression and inflammation of some organs like liver are rare complications but are very dangerous for patents.
Homeopathic medicines helps in treating Epilepsy ?
• Well indicated medicine for epilepsy.
• Aura of epilepsy starts in knees.
• Along with attack of epilepsy there is great weariness of limbs. Tired feeling in limbs.
• Cramping pain in soles of feet and calves.
• Twitching, jerking of limbs.
• Thumbs are clenched during attack.
• Clonic type of epilepsy beginning in the toes and fingers.
• Well indicated medicine for petit mal epilepsy.
• Epilepsy occurs after fright or other violent emotions.
• Patient suffers from several convulsions, close together.
• Very good remedy for epileptic condition and convulsive diseases of children and in girls at puberty.
• Hysterical and epileptic convulsions.
• Patients have sinking sensation in the epigastrium.
• Patient suffers from spasmodic constriction in the larynx.
• Pain and tightness in the chest.
• Well indicated medicine for convulsions and paralysis.
• Very good remedy for collapse due to pulmonary disease not a cardiac collapse.
• Well indicated medicine for spasms, epilepsy.
• Before the attack of epilepsy patient have sensation of coldness.
• Medicine plays very good role for diseases occurring due to bad effects of vaccination.
• Patient is intolerant to alcohol.
• Epilepsy, want of grit, moral or physical.
• Paralysis and weakness of forearms.
• Sweating from feet too profuse and fetid smell.
• Epilepsy occurs after the rush of blood to the head.
• Aura is felt in the region of heart.
• Patient feels as if he is flying.
• Well indicated medicine for females at climacteric age.
• Well indicated medicine to fat women.
• Headache after the attack and mostly felt around the ears.
• Always take proper medication such as anticonvulsants etc.
• Wear a medical alert bracelet in case of emergency personnel know how to treat you correctly.


In this residential reconfiguration project in Melbourne, many restricting factors could have discouraged the home owner and the architect.
The site was already very tight with the existing 90-year-old house, a separate studio and a tiny back yard. The suburb is well-established and the neighbouring sites are just as tight with the houses very close to property lines. In addition, the existing house and streetscape have tight heritage controls.
But the family of four was very clear in the brief: They wanted a new dining and kitchen space that would link the house and studio. They wanted both of the existing buildings fully renovated and they wanted a vegetable garden. And they want their home and lifestyle to become even more sustainable and self-sufficient.
The obvious and more inconspicuous solution would have been to stay within the heritage style and material palette of the existing house, but the parties involved were not looking to be timid.
Melbourne architect Damian Rogers echoed the triangular roof forms and created an angular structure frame of weathering steel. It leans toward the existing house appearing to act as the protector of the house.
Angled glass roofs allow light in, and with the trees leaning in, the glass blurs the line between outside and inside.
The entire residence, including the existing dwelling, studio and the new extension is now 250 square metres (approx. 2,700 sq.ft). The ground floor has three bedrooms, a lounge, a sitting room, a dining room, and a reading room, plus bathrooms, kitchen, pantry and laundry.
The upper level includes a retreat area and a rooftop garden, Rogers' solution to the lack of gardening space that was underscored by the increased dwelling space.
The much-desired vegetable garden is now, a year and a bit after completion, a vibrant garden where the family grows tomatoes, chillies, cucumbers and many more vegetables. "They say they rarely buy vegetables these days and it has become quite a passionate interest," Rogers reports.


text:
Q: How do interpolation fields in Ecto queries? The Ecto documentation shows how to do interpolation values. But I need dynamic fields in my queries. I have dozens of fields and write queries for each of them does not seem cohesive.
defmodule Hedone.SearchController do
  use Hedone.Web, :controller

  alias Hedone.User

  def idade(conn, %{"idade+" => maior, "idade-" => menor, "campo" => campo}) do
    IO.inspect campo
  query = from u in User, where: u.campo > ^maior and u.campo < ^menor, select: u.name
  pesquisa = Repo.all query
  IO.inspect pesquisa
  text conn, "Works"
end

end

This controller generates the following error:
** (Ecto.QueryError) web/controllers/search.ex:8: field `Hedone.User.campo` in `where` does not exist in the schema in query:

from u in Hedone.User,
  where: u.campo > ^18 and u.campo < ^40,
  select: u.name

Automatically translated.

A: I'm assuming campo contains a string with the name of the field you want to use, e.g. "age". You can use field in the query for this:
def idade(conn, %{"idade+" => maior, "idade-" => menor, "campo" => campo}) do
  campo = String.to_existing_atom(campo)
  query = from u in User, where: field(u, ^campo) > ^maior and field(u, ^campo) < ^menor, select: u.name
  pesquisa = Repo.all query
  IO.inspect pesquisa
  text conn, "Works"
end

field expects the field to be an atom, so I've used String.to_existing_atom to safely convert a string to atom. Since you already must have defined the field in the schema of the model, String.to_existing_atom will not fail for any valid field name.

A: I am posting this as an example of another approach to the problem. One might use macros to handle this transformation since macros are being resolved in compile time:
defmacro idade(conn, formula, campo: binding) do
  q = formula |> String.replace "campo", binding
  quote do
    from u in User, where: unquote(q), select: u.name
      |> Repo.all
    text conn, "Works"
  end
end

and call it like:
idade(nil, "u.campo > ^maior and u.campo < ^menor", campo: "age")

redpajama_set_name: RedPajamaStackExchange


Developing the region's assets, infrastructure and estate and supporting its long term growth potential.
Nottinghamshire and Lincolnshire sit at the heart of the Midlands Engine – and the UK. With strengths in everything from financial services and life sciences to agriculture and tourism, they're home to Experian, Capital One, Boots, Raleigh and Benoy.
Securing a successful future means developing infrastructure, building over 100,000 new homes in Lincolnshire alone, retaining existing industries, nurturing the rural economy and becoming a destination for high-growth businesses.
The region's Local Enterprise Partnerships (LEPs) are working hard to make that happen and at Scape, we're proud to play a role in delivering this agenda.
Through our construction frameworks in the East Midlands, we're delivering diverse, award-winning projects – developing schools, universities, infrastructure, blue-light services and custody suites, as well as contributing to the One Public Estate programme.
We're working with Nottingham City Council on high-profile projects such as BioCity and Grade A offices for their teams, helping City of Lincoln Council develop an advanced transport hub and building community facilities like Melton Mowbray's skate park. Our expert teams are behind Bluecoat Academy in Nottingham, affordable new housing in Grantham and a Natural England visitor centre.
Our projects bring tangible efficiencies and community benefits; saving money for the public sector, supporting SMEs and creating a built environment for the future.
In cities, towns and rural communities across the East Midlands, we're developing a robust, high-quality public estate that provides the services businesses and communities need.


text:
Home Infrastructure and Grid Power Distribution and Management How are evolving standards improving MV installations?
How are evolving standards improving MV installations?
May 30, 2022 | 1256 views
3 min read | Sergio Flores
Standards must evolve to ensure safer and efficient MV installations
Almost all products people use in their daily lives – such as electronics, cars, medical devices, and home energy systems — were designed to meet designated industry standards. For the consumer, this means that these products meet both the safety and performance requirements. This even more true for MV installations standards.
For manufacturers, standards are the foundation of their products. They establish technical specifications and procedures so that industries can develop and thrive. They're also essential for compatibility and interoperability so that products from different manufacturers all meet the same basic ratings and construction. Because of standards, manufacturers save time by knowing what is required of a specific product for most locations around the world. Standards guarantee performance conformity, improve sustainability, and maximize reliability. For example, medium voltage equipment manufacturers depend on standards to produce products that provide for safe, sustainable MV installations.
The challenge: Standards that don't evolve to meet the needs of MV equipment manufacturers can actually hold back businesses and impede safety improvements.
These changes benefit MV equipment providers and users in several ways
MV equipment manufacturers benefit from updated and/or clarified standards for a number of reasons, including:
Introduce new opportunities to improve and innovate products: MV equipment manufacturers can better benefit from technology and materials advancements when standards eliminate restrictive requirements. For example, it was previously mandatory to use SIS-type control wires, but now manufacturers have additional options for metal-clad switchgear construction.
Reduce challenges from end users: Clarifying standards reduces disagreements between end users and manufacturers on how to interpret the standards. For example, end users and manufacturers may challenge the interpretations about the size of infrared windows that can be used in metal doors or metal covers.
Save time and money: It is costly and time-consuming for manufacturers to redevelop products that were designed based on obsolete standards.
For example, up-to-date standards can address MV installations' sustainability challenges
When standards evolve to meet MV installations' requirements, they help ensure safer, more efficient, and more sustainable installations for the future. For example, International Electrotechnical Commission (IEC) standards for MV switchgear are being updated to meet UN Sustainable Development Goals (SDG). Since 2020, any new work item for IEC proposals must include the identification of the expected contribution to SDGs. This leads toward building a more sustainable and resilient infrastructure based on environmentally sound technology.
To get more information on SDGs, download last release of the Medium Voltage Technical Guide
IEC and ANSI/IEEE standards are also becoming more harmonized as part of this evolution
IEC and American National Standards Institute (ANSI)/Institute of Electrical and Electronics Engineers (IEEE) are the main standardization bodies for MV installations. There can be significant differences in the ratings and performance required by these standardization bodies, which often leads to global manufacturers needing to produce two different products.
Fortunately for manufacturers, IEC and ANSI/IEEE standards are becoming more harmonized on performance and testing requirements. For example, IEC and ANSI/IEEE standards for circuit breakers differ but in recent years the standardization committees have worked toward converging type test requirements for MV circuit-breaker standards. For instance, the alternating current generator circuit breaker standard was harmonized in 2015 to a dual logo as IEC/IEEE 62271-37-013.
The benefits of harmonized standardization include:
They provide a neutral and open environment that empowers innovators across borders and disciplines.
They support the collaborative use and exploration of emerging technologies.
Customers benefit because their MV equipment options will be the same for all regions.
Get a more in-depth look at how standards affect medium-voltage design
Access our free MV Technical Guide to learn more about how standards affect medium-voltage design. As an industry leader in MV and LV electrical distribution, protection, and control solutions, we have the expertise to guide you through changing regulations so you can make the right choices for your business.
Tags: ANSI, Compliance, IEC, IEEE, Medium Voltage, MV Installations, standards, Sustainability, switchgear
Email (Your email address will not be published.)
Medium Voltage Design: Evolving Standards
IEC vs ANSI Switchgear – Understanding the Global Standards
IEC 60898-1 and IEC 60947-2: a tale of two standards
Todays Standards are the Regulations of Tomorrow

redpajama_set_name: RedPajamaCommonCrawl


Filmop has meticulously studied the specific needs of the different areas, by creating highly functional products and systems capable of achieving a thorough cleaning and moving rapidly also in the narrowest passages, thanks to their compact and light structure.
Filmop solutions help hotel in reacting promptly by thoroughly and efficiently cleaning the different common areas.
Alpha is a range of multi-use trolleys designed to meet every cleaning need in the hospitality sector, thanks to its modular components, that can be combined according to specific needs. Alpha carriages are compact, light and easy to handle. Their soft design and care for details make the Alpha carriages particularly pleasant to see.
On the other hand, the Brilliant system is the ideal solution to clean windows, mirrors and all shiny surfaces in general: the combined action of the handy frame with the ultra-microfiber cloth guarantees a bright level of cleanliness in just one go.


10 Year/100,000 Mile Powertrain Warranty Eligible // *CARFAX 1-Owner Vehicle* // Bluetooth Wireless Technology // *Third Row Seats* // Auto-dimming Rear-View mirror // Blind spot sensor: Lane Change Assist (LCA) warning // Exterior Parking Camera Rear // Four wheel independent suspension // Front dual zone A/C // Front fog lights // Fully automatic headlights // Power driver seat // Power Liftgate // Radio data system // Rear window defroster // Rear window wiper // Remote keyless entry // Steering wheel mounted audio controls // Wheels: 18" x 7" 2-Tone Aluminum Alloy // Odometer is 1450 miles below market average! Why Buy From Carriage? *Our Best Price First *10 Year/100,000 Mile Warranty on All Eligible Vehicles *Car Wash with every service visit *Family Owned & Operated for over 30 years *Thousands of 5 star reviews from Happy Customers. 10 Year/100,000 Warranty is only eligible on vehicles purchased with under 80,000 miles and less than 8 Model Years old. Carriage uses electronic market pricing data that is updated daily to ensure that prices are competitive and fair.


 We are a 501(c)3 Organization Saving Friendly, Stray Kittens - Why Own a Cat?
What's just one more cat and one more little crate?
Your lawn has now died and your shrubs are dead too!
And litter and toys and more, all which cost lots.
Then your favorite comes up and climbs in your lap.
At the cats on the sofa, who refuse to get out.
Yes, those cats are addictive and so's the cat game!


So, here in this article, we are sharing the guide how to Hack Android games Using Root Browser? As all of you know Root Browser is the best file manager for Android device. So, apart from that, you can get lots of features through this Root Browser. Apart from all the features Root Browser also helps you to hack android games. So, then you need to root your android device in order to hack your games using Root Browser. You can hack any android games like Subway Surfers, Temple Run or and many more games. In other words, you can modify score file of any game which you want (except some online games like Clash of Clans). You can easily clear the levels of games using this amazing app. You can even clear the missions and increase the money, coins, gold and many more. So, here are some features of Root browser apart from hacking the games.
Also check dual whatsapp for android.
Here we shared some of the best features of Root Browser.
This Root Browser helps you to extract apk, rar, zip & jar files.
You can easily view and edit any file.
Perform functions like Move, copy, rename, and delete files.
Easily create and delete folders.
Hacking android games and managing the files easily.
Follow the below guide in order to know How to Hack Android games Using Root Browser.
Here is the step by step guide that will explain you to Hack Android Games using Root Browser. Just follow the step by step guide to Hack Android Games using Root Browser.
Now install it on your Android device.
Now open it by tapping on it.
Then Go to Data Folder and then again you need to go to next data folder.
Now go to the folder in which your game has placed and the game that you want to hack.
Now you are in a game folder, now you need to look out for shared_prefs and tap on it.
Then you need to find .xml file and open it.
Now you can easily edit the code that you want to hack.
So, if you want to change the score then you need to do following changes in the .xml file.
<int name="score" value ="0" /> write 9999999999 instead of 0). Then change the value 0 to 9999999999 means unlimited.
So, like that change the codes in .xml file to clear the levels, missions or even get unlimited money, coins and many more.
Then tap on save button to save the changes that you have made in .xml file.
This was the guide about how to Hack Android games Using Root Browser?. If you found any problem with the downlaod link of Root Browser then you can comment that through comment using below form. If you find any problem with this guide then you can comment that through below form and we will be reply to it within 24 hours.
browsers. Many peoples are not aware about these. Thanks for sharing.


text:
Jelly is an underused name for a dog. It's short for Angelica, and it's the name we gave to the affectionate, troubled animal that we adopted earlier this year, partly to fulfil a pledge to our two daughters and partly to give our other dog, Ralph, a companion for life.
Jelly is a cross-breed of unfathomable provenance, rescued from the streets of Romania. She's pretty, with a long, lean torso, a delicate, black-muzzled face, and a dainty way of standing, with her paws angled outwards like a ballerina's feet.
When we first took her home she was shy and uncertain, making no sound and barely moving in her cage. But she quickly grew more confident, rolling onto her back, play fighting with Ralph in the garden, and pressing herself against us for cuddles and scratches.
Sometimes there was a jealous dimension to these manoeuvres. Jelly couldn't stand it when we showed Ralph affection, and would hastily interpose herself between us whenever she witnessed this outrage, shouldering her rival aside.
We had been told that we should treat Ralph, the resident dog, with greater reverence, feeding and praising him first. So that's what we did, pushing Jelly away by the chest and making her wait, shoving her off the sofa whenever she had the temerity to hop onto it, and generally subjecting her to a more onerous regime than Ralph had ever experienced. It felt like an odd way to treat the youngest and newest member of our family, and we didn't keep the favouritism up for long.
Meanwhile, more troubling patterns of behaviour emerged. Play fights between Ralph and Jelly started escalating into savage snarling brawls, and games of chase reliably ended up with Ralph under the sofa, yapping at Jelly while she yapped back at him. He was always trying to make the game end.
We worked out how to curb most of these behaviours, with the help of a professional. Jelly hunted Ralph on walks, pressing herself to the ground like a lioness stalking an antelope before scrambling and striking, so we kept her on the lead. Solved. Whenever Jelly started pulling her power-moves on Ralph, we stepped between them and loomed over her until she sat down in a gesture of compliance. Solved. Most of our strategies worked, but not all of them.
Over time Ralph and Jelly started largely to ignore each other, even when they were doing the same thing, standing in the same corner of the garden, barking at the same unseen dog on the other side of the fence. They regularly shared a sofa, or laid together on my office floor, back to back like jigsaw pieces, but the wholesome play fighting of their early days didn't last.
In most respects, Jelly is a wonderful dog – obedient, affectionate, enthusiastic, intelligent, and eager to please. She's much better than Ralph at most of the things a good dog should be good at, like walking calmly on the lead, waiting for permission to eat, and maintaining a respectful distance at the front door. When I placed their food bowls in front of them, Ralph's nose always hovered a couple of inches above his dinner while Jelly sat erect, her head cocked, a model of respectful restraint.
In August we went away, leaving Ralph and Jelly together in a single cage at the kennels. I outlined their occasionally tempestuous relationship to the kennel owner, and asked that they be separated in the event of a fight. She suggested that they might become closer over the fortnight, echoing my own unspoken hope.
When we picked Ralph and Jelly up after our holiday the kennel owner had nothing to report, and it seemed she might even have been right. For a week or so after that our dogs were settled. There wasn't much warmth between them, but no fighting either.
But their truce was short-lived, and after a particularly explosive fight we realised that we couldn't go on.
My wife had been pressing to rehome Jelly for weeks, but I had always resisted, feeling that she wasn't beyond redemption, that we had a duty to her, and that we had a duty to our children too. This had the effect of making me Jelly's de facto champion, an attachment that was amplified by Jelly's clear preference for me. Being loved is even more dangerous than loving.
It seems incredible now, but I didn't like Jelly much at first. I had an overpowering loyalty to Ralph and a strange aversion to Jelly's wiry, unfamiliar, un-fluffy, un-Ralph-like presence. There was something unlovable about her bullish neediness – the way she couldn't stand the sight of Ralph receiving affection, the way she would nudge my hand with her wet nose to make me keep stroking her whenever I stopped.
But in the end she became my favourite. I spent so much time watching her, thinking about how to manage her, and interacting with her that this switch in loyalties was inevitable. But it was also, I'm sure, because of her. I could call out from anywhere in the house and Jelly would come running. She bristled with affection and delight. I feel I can say that Jelly loved me, and I hope she knew in some way that she won me over completely.
I wish I could explain myself to Jelly. I wish I could say sorry, not just for letting her down but for all the times I was impatient and unaffectionate. I wish I could let her know how much it hurt to give her up, and that I didn't do it lightly. If she could have watched me sobbing as I signed her over, she might have understood, but by then she had already been led out of sight.
More than anything, I wish I could tell Jelly what I kept telling myself on that very long drive, and have been telling myself since:
It's going to be okay.
Author Rob HearnPosted on September 2, 2021 September 3, 2021 Categories WritingLeave a comment on Summer of Jelly
Daffy Duck is the greatest character ever created, though it's important to establish which Daffy we're talking about. There are at least two versions of Daffy, and only one of them is great.
The original, non-superlative Daffy arrived in the 1930s as a righteous maniac with supernatural powers of mischief. Like Bugs Bunny, he could fabricate costumes and other objects out of thin air and bend reality around his japery. He once bonked Hitler on the head with a mallet, to keep everybody's spirits up during the war.
Keeping spirits up
Though undeniably patriotic, this Daffy was just a dead-eyed kook, with no identifiable motive other than to be a nuisance. But over time he became more nuanced, and meaner. He shed his kooky scattershot vocal style and learned to speak with a sort of contemptuous eloquence. Though I have no intention of verifying this assertion through research, I'm fairly confident that he's the only cartoon character ever to have a four-syllable word in his catchphrase ("you're despicable"). Even Monty Burns can only manage three.
Unusually for a cartoon character, Daffy could play face or heel as the context required, and he was driven by complex human motivations like jealousy, vanity, and profound solipsism, often in conflicting directions. "I may be a craven little coward," he said in one episode, before embarking on another bruising caper, "but I'm a greedy craven little coward."
This is the Daffy that appears in The Looney Tunes Show (2011), a genuinely funny Seinfeld-esque animated sitcom starring comedy giants like Fred Armisen and Kristen Wiig in which Daffy and Bugs live together, have girlfriends, earn money, and get into hilarious scrapes. It is here that Daffy reaches the apotheosis of his self-knowledge. "You're my best friend," he tells Bugs. "You know me better than anyone. You see what a horrible person I am."
Unfortunately, the Looney Tunes Show only lasted two seasons before it was cancelled and replaced with Wabbit, a Bugs-centric sketch show in which Daffy appears as his original, zany self, complete with Loki powers. I cannot overstate my disappointment at this move. The Daffy I know is a flawed but relatable person, twisted by a manifestly unjust universe into a resentful, mendacious monster who also happens to be the greatest cartoon character ever created.
When I talk about Daffy Duck, this is the one I mean – the one who was so bitterly determined to beat Bugs Bunny and win the audience's adulation in Show Biz Bugs (1957) that he killed himself on stage.
This is also the Daffy that became a template for other great screen characters, including Eric Cartman, George Costanza, Basil Fawlty, Richard Richard, Phil Tandy Miller, Dennis Reynolds, and countless others. To some extent the success of those characters is a function of how closely they adhere to the Daffy formula.
What is the Daffy formula? It's this.
To be a Daffy, a character must first and foremost be like Daffy. Not only must they be congenitally selfish, devious, grandiose, and craven, but all of these characteristics must be magnified to grotesque proportions due to the pointed cruelty of the universe.
The pointed cruelty of Daffy Duck's universe
Daffy Duck is destined to be humiliated and thwarted in every ambition, so he has no incentive to overcome his negative impulses. He might as well go all in, pursuing every goal with single-minded determination and a total disregard for the rights and feelings of others. Daffy Duck would nuke a city to jump one place in a queue. This is the natural condition of every Daffy.
But to be his best self, a Daffy has to be modulated by two other character archetypes: a Bugs, and a Porky.
Daffy Duck's relationship with Porky Pig is fairly straightforward. The duck looks down on the pig, and treats him like an ignorant slave. For the most part Porky is willing to put up with Daffy's contempt because the universe ensures that he will always come out on top anyway, and Daffy will receive his just deserts without Porky having to intervene.
Most of this also applies to Bugs, who is happy to tolerate Daffy's unbelievably selfish scheming because, at the end of the day, good things will always happen to Bugs and terrible things will always happen to Daffy. The difference is that Daffy looks up to Bugs, not down, and this grudging admiration fills him with jealous rage.
Both Bugs and Porky are necessary for Daffy to express his full spectrum of unenviable characteristics. Bugs brings out his tireless competitive antagonism, and Porky brings out his appalling imperious contempt, while the universe itself keeps him angry and frustrated.
Even so, it is the invisible hand of the anti-Daffy universe that makes his relationships possible. Nobody can resent Daffy's unmerited victories, because he never secures any. Daffy's friends understand that there's no malice in Daffy's malice. It's clear that he has no choice but to be himself, because being like Daffy is not a choice that a rational agent would make.
When Daffy Duck gives up his own life for applause at the end of Show Biz Bugs, his good-natured rival offers him some encouragement as he ascends to the rafters as a ghost. "That's terrific Daffy! They loved it. They want more."
"I know, I know," says a plaintive Daffy. "But I can only do it once." You can't help but feel sorry for him.
The ghost of Daffy Duck
If you run through a list of characters based on the Daffy Duck template you'll find they generally satisfy all three criteria, or at least two of them.
George Costanza has the basic personality of Daffy, but he lives in a world of Bugs Bunnys, including Jerry Seinfeld, who is Bugs Bunny incarnate. However, there are no Porkys in his life–nobody he looks down on. Nor is he particularly resentful or jealous, though he will stop at nothing to achieve his goals, however petty and selfish.
Incidentally, Larry David – the template for George Costanza – is another passable Daffy, though he's too well-meaning to really qualify.
In the first season of Last Man on Earth, protagonist Phil Tandy Miller is a textbook Daffy Duck. He treats most people like Porkys, as means to ends rather than ends in themselves, and he will go to extraordinary lengths to get what he wants irrespective of the effect it has on those around him. He even has a literal Porky, in the form of Todd, and he's at his funniest when he also has a Bugs to set off his jealousy and competitiveness. Phil Miller (2) is the first of these, followed by his brother Mike (Jason Sudeikis–like Jerry Seinfeld, a quintessential Bugs.)
Jason Sudeikis gets another opportunity to fulfil the Bugs role when he appears as Schmitty in It's Always Sunny in Philadelphia, coming up against Dennis Reynolds, Glenn Howerton's version of Daffy. Here the issue is that Dennis has only ever lived among Porkys, and while it would be untrue to suggest that Schmitty is a true Bugs to Dennis, because Dennis doesn't actually look up to him, his breezy confidence and unwillingness to follow orders has a destabilising effect on the group.
Basil Fawlty is another Daffy, consumed by selfishness, jealousy, and single-minded determination to get his own way at all costs (to other people). Polly, Manuel, and the majority of his downmarket, iniquitous guests are his Porkys, while every so often a Bugs comes along in the form of a guest with an elevated social status, such as a doctor or a lord. Such guests completely change Basil's personality, turning him from an imperious bully into a snivelling supplicant and then a neurotic maniac–classic Daffy moves.
Of course, his greatest opponent is Sybil, and she is neither a Bugs nor a Porky, but rather a monster, or perhaps the gigantic, acid-drinking cowboy in Drip-Along Daffy (1951).
A mean cowboy/Sybil Fawlty
Along with the season 1 version of Phil Tandy Miller, the most perfectly archetypal Daffy is Richard Richard, or Rich, co-protagonist of the sitcom Bottom. Rich has all the scheming, self-serving amorality of Daffy Duck, and the same delusional grandiosity, which is starkly at odds with his real status as an unemployed, perpetually filthy virgin. His primary Bugs figure is Eddie Hitler, and though, like Daffy's wartime incarnation, Rich frequently bonks Hitler on the head, he is never able to escape swift and brutal retaliation in the form of getting hit with a pan or kicked right in the nuts.
Like Daffy, each of these characters is, "a kind of unleashed id". If fiction is an outlet for wish fulfilment, then Daffy reflects our truest wishes. We may want to be selfless and brave like Luke Skywalker, but even more than that we want to be ourselves – selfish and cowardly – without constraint. It's just plain easier. To self-centred creatures like us, watching Daffy on a caper evokes the sensation that a domestic dog must feel watching a wolf on the hunt: sheer awe at the spectacle of one's own nature finding perfect expression in an infinitely superior relative.
Author Rob HearnPosted on April 7, 2018 March 25, 2021 Categories TV & Film, WritingTags daffy duckLeave a comment on You might be Daffy Duck
Every Friday night after filming, Jerry Seinfeld and writer Larry Charles used to drive up to Laurel Canyon in LA and race from there to Sunset. Jerry (Porsche) would give Larry (Saab) a three minute headstart before tearing at "insane" speeds through LA to catch up with him. "I would risk the entire series," he said later. "My whole life."
It sometimes feels as though Jerry Seinfeld's appetite for peril extends beyond motorphilia and into the realm of oratory, where he is un-woke, and oddly prone to putting his foot in his mouth for such a consumately controlled performer.
Let's look at the evidence. In 2014, he responded to a question from Buzzfeed about the overwhelmingly white, male guest list on Comedians in Cars Getting Coffee by saying, "who cares?"
A flurry of opinion pieces and withering Tweets followed.
Then, perhaps irked by his previous run-in with contemporary sensibilities, in 2015 he told ESPN, "I don't play colleges, but I hear a lot of people tell me, 'Don't go near colleges. They're so PC.'"
More headlines.
Then he told Seth Meyers that there's a, "creepy PC thing out there that really bothers me," because he sensed that an audience disapproved of the term "gay French king" in one of his jokes.
And another flurry.
Jerry Seinfeld is obsessive about his comedy vocation. This is evident in the documentaries he has made, and in his fabled work ethic, and his reputation as a master technician. And more subtly in the way Judd Apatow describes his bare monastical LA apartment when they first met in the 80s, and how in Comedians in Cars he often stops to explain why the thing his guest has just said is funny, right down to the timing of hand movements. And how he openly struggles to speak to people who aren't comedians. You can even see it in the way he recounts his late night street races – "series" comes before "life."
Comedy is Jerry Seinfeld's kingdom, and lately it seems as though he's been developing a sort of philosophical armour of defiance against the encroachment into his kingdom of criticisms that he considers to be irrelevant, because they're being made on moral rather than aesthetic grounds.
There's the interview with Channel 2 in Israel in which he responds to a question about the #metoo movement by calling his female interviewer, Dana Weiss, "honey," and the the fact that in his recent Netflix documentary, Jerry before Seinfeld, he delivers strangely archaic material about the differences between men and women. And there's the equivalence he seems to draw in an interview with Stephen Colbert between Bill Cosby's sexual assaults and Jerry Lewis's seemingly capricious will arrangements.
Stop. Zoom. Jerry Seinfeld's interview with Stephen Colbert last year is a milestone in the journey of Jerry Seinfeld. When Stephen Colbert asks him whether he can still listen to Bill Cosby records despite the allegations against him, Jerry Seinfeld says. "Oh yeah," in his breezy high pitched voice, as if it's the simplest thing to disregard multiple alleged rapes.
You can hear the audience hesitating, unsure how to respond to the strange spectacle of a beloved comedy legend not particularly minding that Bill Cosby is a rapist. How could the co-creator of the greatest ever sitcom be so out of touch?
Well guess what. Jerry Seinfeld isn't out of touch. Probably. He's not just another irritable old man objecting to attempts by the world to deprive him of the sanctuary of his own worldview. There's a principal at stake, which is that comedy is the only thing that matters to him. As long as he behaves himself in life, thinks Jerry Seinfeld, he shouldn't have to concern himself with anything else.
"Funny is the world that I live in," Jerry Seinfeld told Buzzfeed in 2014. "You're funny, I'm interested. You're not funny, I'm not interested."
The salutary aspect of this stance is that race, gender, sex, and so on are irrelevant to Jerry Seinfeld. He just doesn't see those things, which is the textbook definition of somebody who isn't a racist or a sexist. His only avowed prejudice is against people who aren't funny, and that's not a thing.
You can disagree about whether Jerry Seinfeld really is comprehensively colourblind in this way, but I believe that Jerry Seinfeld believes he is, and I for one believe him. If pressed, I expect he would acknowledge that the preponderance of middle-aged white men on his show is symptomatic of the unfair barriers that women and people of colour must overcome when trying to enter the kingdom of comedy. But that's a downstream problem for somebody else to fix. All Jerry Seinfeld can do is ensure that he only ever judges the person in front of him in terms of how funny they are, and not their sex, background, or skin colour.
Unfortunately – but actually fortunately – Jerry Seinfeld's armour is pregnable. In the next segment of his interview with Stephen Colbert, after the commercials, Jerry Seinfeld abruptly changes his mind about Bill Cosby.
It may be that Stephen Colbert leaned across to him while the cameras were off and urged him to repent, or Jerry Seinfeld may have felt in his waters that he had gone too far, at the wrong time, and a Twitterstorm was coming, which, after years of stumbling into controversies, he no longer had the resilience to withstand.
Either way, he hastily crowbarred a retraction into the interview as soon as the lights came on, rushing it out before Stephen Colbert had a chance to change the subject. There follows a slightly uncomfortable exchange in which the normally suave Jerry Seinfeld seems to flounder and Stephen Colbert gets all the laughs. The balance of power between the two men visibly shifts as Stephen Colbert steers Jerry Seinfeld towards a repudiation of his entire philosophy. Observed through metaphor-sensitive spectacles, Jerry Seinfeld would at this point dejectedly remove his philosophical armour and join the shuffling grey PC brigade, like Winston Smith professing his love for Big Brother.
The title of this video on the Late Show's YouTube channel is, "Jerry Seinfeld Is Becoming 'Modern' Seinfeld".
A confession. Following Jerry Seinfeld makes me nervous because I've been quietly rooting for him. While admittedly there are conspicuous differences between us, Jerry Seinfeld appears to have been going on the same emotional and intellectual journey as I have over the last few years.
"But should we separate it or shouldn't we separate it?" he says to Stephen Colbert, in one last valiant effort to keep the flame of his rebellion alive. "The art, or the work, from the man?"
Though I hesitate to admit it, this is exactly what I spent the weekend pondering after Louis CK confessed to sexual misconduct last November. I know it's not the story, and I know people got hurt, but I just couldn't accept, and still can't, that the appalling things Louis CK did in front of several women will permanently invalidate the edifying and hilarious things he said on stage – even though some of the things he said on stage seemed to originate in the things he did.
"It's made up, it's material, come on," says Jerry Seinfeld, re Bill Cosby, to an unmoved Stephen Colbert, his last swing.
"I know that, but part of him was the charming fatherly figure too, and all of that is destroyed."
[Applause].
"Alright. You're right. I'll change my mind."
Earlier, in Israel, Dana Weiss asks Jerry Seinfeld about Louis CK. "It's terrible," he replies, before quickly moving on to the aspect of the affair that most preoccupies him. "I mean, these behaviours don't even make sense sexually."
Ever in lockstep with Jerry Seinfeld, I said this too. I simply don't understand how masturbating in front of an unhappy woman in a semi-public setting could be enjoyable. But I'm aware that by saying that I'm sidestepping the collective narrative and fixating on a detail, which is also what Jerry Seinfeld is doing, because that's the aspect of the scandal that interests us, or because we don't want to feel as though peer pressure is dictating our views, or a bit of both.
You could argue that Jerry Seinfeld's stubborn resistance to PC sensibilities is just a symptom of old age. Progress and fashion can turn uncontroversial beliefs into contentious ones almost overnight. When I was younger, the expression that most neatly summed up the relationship between the sexes for everybody was the book title. "Men are from Mars, Women are from Venus." Not only is this kind of thinking borderline hateful nowadays, but it's not even clear that there are two sexes. Change like that can be discombobulating to a well-meaning person of advancing years.
But I don't think that's what's happening with Jerry Seinfeld. I think he's fundamentally a decent person. I don't think he endorses the white partriachal worldview that's under attack. "One door closes, another opens," he told David Remnick at the New Yorker Festival. "There's always a joke; you've just got to find it."
But there it is, still. The opening and closing doors in this analogy are a reference to heroic activism following dreadful abuse and injustice, yet Jerry Seinfeld only seems to care which jokes can make it through. He can't see beyond comedy. And with all the suffering in the world. Shame on him!
Except, that's okay, isn't it? Is it? I don't know. I think so. He can get to Sunset at his own pace as long as he doesn't crash into anybody. Maybe. Maybe not.
Author Rob HearnPosted on February 22, 2018 February 22, 2018 Categories TV & Film, WritingTags #metoo, jerry seinfeld1 Comment on "The Jerry Seinfeld"
Mr Mom (1983) is a major Hollywood film, starring Michael Keaton and Teri Garr, about a man called Jack who loses his job and ends up caring for his children while his wife, Caroline, goes out to work.
I like to think it couldn't be made now. At this point there are enough men who are not breadwinners, or at least enough people who understand that this shouldn't matter, that the premise no longer seems whimsical.
If anything, it's a surprise that it could have been made as recently as 1983. I mean, watch this trailer.
"He became the lady of the house"? What the hell?
I have a special interest in Mr Mom because my life is approximately the same as Jack's. That is, I'm a stay-at-home dad, but I wasn't always.
The first thing to say is that Mr Mom is much more nuanced than its trailer suggests. While the cinematic trailer does indeed frame Jack's predicament as an absurd and mind-boggling violation of the natural order, in the actual film he just gets on with it like a good sport and nobody really raises an eyebrow.
This more or less reflects my own experience. While it's not always easy to be a "lady of the house" when you're a man, nobody has ever ridiculed my lifestyle to my face. When I tell people what I do they tend to be indifferent, though older people are often effusively supportive, presumably to mask their deep shock.
Even so, I sense that assumptions are made about my competence as a male full-time parent, and I sometimes play up to these. My tacit role whenever I speak with the women who run the office at my children's school is the hopeless, forgetful, congenitally useless dad, which suits me because that's actually what I am. The widespread assumption that I'm a fish out of water – or at least my own assumption that that's how everybody sees me – allows me to get away with not trying to appear competent, which is clearly an excellent perk of being a man which isn't available to women, who have to suffer the burden of assumed competence.
Mr Mom gets this about right, with some dramatic licence. On his first day in charge of the home, Jack goes to the supermarket, clutching a shopping list that his wife wrote for him. His children knock over displays, he can't decide which kind of ham to buy, and at one point he even loses his youngest child – a baby – altogether. His closest character analogue from the world of film is Corporal Upham in Saving Private Ryan during the battle at Ramelle. Watch.
Later on he tries to do the laundry. He overloads the machine with detergent and it judders ominously, before exploding. A TV repair person, a pest control person, and a plumber all arrive at roughly the same time and compete for his attention while he runs around trying to keep his children alive and his house intact. He succeeds, but only just.
Over time, Jack loses pride in his appearance. He wears his wife's glasses for some reason (if they share a prescription, why doesn't he have his own glasses?), along with a dirty old flannel shirt that he never washes. He puts on weight (like me), and grows a careless beard (like me), exhibiting the signs of a person in a state of mourning or deep depression (still me).
Obviously, this is a comic exaggeration of what happens when an inexperienced parent takes over the running of a household, but there's a kernel of truth in it. When I took over I genuinely couldn't work out how to get my eldest daughter ready for school in the morning. I went absolutely batshit on a daily basis as I scrambled to iron clothes, clean teeth, and brush hair within the time allowed. Every school run was a furious wrist-yanking speed march in time bomb conditions.
But that was then. Jack eventually learns how to run his house like a pro, and so have I. I now have to get TWO children ready for school, rather than just one, and I even have to make a packed lunch for one of them due to an ill-advised moment of indulgence several months ago that I cannot reverse. And it's easy.
I was probably a bit more competent than Jack at the outset, and arguably a bit less competent by the end of the film, when Jack successfully runs the household for a day and prepares a gourmet dish for his wife after the children have gone to bed, which I have never done, nor attempted, and never will. But I think Jack and I went on more or less the same journey, from idiotic buffoon to proficient homemaker.
There are respects in which our stories diverge, however. Mr Mom has something to say about the dangers that await men and women who venture outside their respective habitats. When Caroline starts going to work in an office it soon becomes apparent that her male boss wants to seduce her, and his eventual attempt at this almost certainly constitutes sexual assault. Meanwhile at home Jack ends up in the sexual crosshairs of a glamorous divorcee, who bamboozles him with her cleavage and even climbs onto his bed.
Nothing of this kind has happened to me.
Yes, Jack is far more personable than I am, but the ease with which he integrates himself into the community of housewives and mothers is still a bit of a stretch. And I have to say the film loses points here in its gender politics, because he doesn't just integrate. He dominates. Pretty soon his wife's former friends are congregating at his house, where he shows them the error of their ways by teaching them how to play poker instead of the inferior, female game of bridge. His amorous pursuer turns on the charm, despite his hirsute appearance, unwashed clothes, expanding waistline, and the unappealing disorder of his home. (This isn't a gender politics issue in particular. It just doesn't seem fair.)
But there's another striking gender politics misstep in Mr Mom, and it concerns Jack's continued search for a job. Jack's wife finds work before him, and it emerges that she's at least as talented an advertising executive as he is an engineer. So, great, you'd think. The family is saved. The instigating problem – loss of household income – has been solved, and all that remains is for Jack to attain the level of competence and satisfaction in his new role as his wife once enjoyed.
That's broadly the arc of Mr Mom, but something odd keeps happening. Even though Caroline is gainfully employed, Jack keeps going to interviews. Why? There are two possible explanations. A) Caroline isn't paid enough in her advertising job to support the family. And B) Jack is a man.
According to Payscale.com, the median salary for an advertising executive is $43,653, while an automotive engineer earns $74,363 on average. Assuming the relative status of these professions hasn't changed too dramatically in the last 30 years, this lends some weight to explanation A. But why wouldn't the script make this clear? How hard would it have been to include an extra line of dialogue explaining that Caroline is working pro tem while Jack finds more lucrative employment?
For that reason, I suspect explanation B is correct. After all, there are numerous examples of fictional advertising executives earning a comfortable living (Bewitched, Friends, The Crazy Ones). For all that Mr Mom seems remarkably progressive, it still contains an underlying assumption that Jack will go back to work. In order to satisfy audience expectations in 1983, the absurd anomaly of Jack's male worklessness must end.
As it happens, the film resolves this issue with a cleverly ambiguous fudge. Caroline quits her job after her boss sexually assaults her, but her boss shows up at her house and begs her to come back. At precisely the same moment, Jack's former employer shows up and begs him to come back too. The credits roll while negotiations are still ongoing, so the audience can make its own mind up about how things pan out.
The scene in the film that best evokes my own experience is the one where Jack brings Caroline dinner in their bedroom and they have an argument. Here it is.
I've had pretty much this exact conversation, though my wife was nicer to me than Caroline is to Jack.
"My brain is like oatmeal," Jack says. "I yelled at Kenny today for colouring outside the lines. Megan and I are starting to watch the same TV shows, and I'm liking them. I'm losing it."
Check, check, check.
I once had an idle conversation with my wife, to pass the time on a long drive, about how many anonymous people we'd be prepared to kill or let die to save our children. The answer, of course, was all of the people on Earth, anonymous or otherwise. As you would rightly expect, nothing matters more to me than my children, and, when I'm in the right mood, nothing delights me more. Yet I crave their absence almost constantly, and I'm certain that they have dulled my brain, shortened my life, and radically diminished me as a person.
Honey, I know what you're talking about. I've been there myself, okay?
This is the bit that shames me. Whenever I go into a sulk, which is every day for between two and five hours depending on the Radio 4 schedule, I'm aware that the condition I'm bemoaning is the one that women have been expected to put up with for centuries. I didn't really sympathise before. I do now.
Well if you were so unhappy why didn't you say something about it?
Many women did, of course. I grew up watching the Carla Lane sitcoms that my mother watched, about disaffected housewives and underappreciated matriarchs. The sitcom Butterflies and the movie Shirley Valentine were about women who had given up work to look after their children. I have to admit that I played devil's advocate back then. What about the husbands? I thought. Do you think they enjoy going out to work every day? Don't you think they might like to stay at home and watch soap operas instead? What a fool I was.
Look, maybe I was a little confused. Maybe I was a little frustrated. But I knew what I was doing was important, because it means something to raise decent human beings. What saw me through was pride. I had pride in the kids. I had pride in this house, and I had pride in being Mrs Jack Butler.
This is great. This is exactly how a person should feel about staying at home and looking after their children. But for some people, maybe most people, pride is elusive. It's a purely theoretical phenomenon, easily eclipsed by the actual boredom, anger, and frustration that giving up work to care for a small child can engender.
I wish I could see things the way Caroline does. It's not clear whether Jack ever gets to, but he certainly seems happier by the time his former employer shows up to restore harmony to the universe by putting him back to work in a loud manly factory.
Is there a message about gender in the different ways that Caroline and Jack understand the role of full-time parent? Yes and no. Mostly no. Like many stay-at-home fathers raised in a patriarchal society, I occasionally feel embarrassed not to be out at work all day, providing for my family. But Jack is much more mature than me, and doesn't seem to have that hang-up at all. He just struggles with the logistical and mental challenges of full-time parenting, like anyone – male or female – would if they were suddenly required to do it.
Eventually he starts to experience the perks. In one scene, as Caroline is about to abandon the family on Halloween to shoot a commercial in LA, Jack tells her, "Megan just cut two new teeth. I bet you didn't know that. Alex is playing football. Remember Kenny's security blanket? He doesn't have it any more. He doesn't use it. It's gone."
Jack is set up as the wisdom-dispensing good guy in this scene, but I find his remarks a bit unkind. Caroline, her eyes shining, is powerless to do anything about it. "You gave me some real good advice once," Jack continues. "So now let me give you some of mine: it's real easy to forget what's important. So don't."
This is an oversimplification, of course. Family is important, but so is having an identity outside of family, and aspirations that are particular to your own sense of what you're cut out for and what you can achieve.
Being a full-time parent robs you of all that. But it gives you other things in return, such as the (absolutely reprehensible) secret thrill of knowing that you are the primary parent – the one your child runs to after an absence, and seeks out after a nightmare.
The obvious conclusion is that it should be possible for both parents to be the prime, and for both of them to achieve individual fulfilment through work as well.
But the nightmare thing is a decent consolation prize if you find yourself out of a job.
Author Rob HearnPosted on November 4, 2017 March 25, 2021 Categories TV & Film, WritingLeave a comment on Mr Mom: an insider's retrospective
In the summer of 2001 I said something very funny.
I was working as a waiter at the time, at a small cafe in Berwick-upon-Tweed. The cafe was about to close when a Scottish family bustled through the door. "I'm sorry, we're not serving any more," I told them before they could sit down. Looking crestfallen, they quietly left.
It was obvious that the family was staying at the nearby caravan park, and given the lateness of the hour I guessed that they had only just arrived and were looking for a place to have dinner after a long and arduous journey.
After they were gone I turned to the waitress who was standing with me behind the counter, and it was at this point that I said something very funny.
It really landed. The waitress laughed so hard that she couldn't breathe. Her cheeks turned red and she had to lean on the counter to prevent herself from falling over. Infected by her laughter, I beamed too, and we continued like this for more than ten seconds, until the other waitress who was working that shift emerged from the kitchen.
"What are you laughing about?" she said.
"I don't even know," said the first waitress. "I think I'm going mad."
Going mad? The smile left my face.
The waitress was half right. It's completely true that she didn't know why she was laughing, but she was wrong to think that it was because she was going mad. She was laughing because I had just said something very funny. She just didn't understand why it was funny.
I've thought about this episode many times over the last 15 years, because it perfectly crystallises an interesting property of humour: it's not always easy to know why you're laughing, even if there's always an explanation. In this case, I happen to have the explanation, because it was me who said the very funny thing.
Here's what I said, about the people who had come into the cafe:
"I feel guilty now, thinking of them all sitting in their caravan eating Time Outs".
Let me just say, I know this joke probably didn't make you laugh out loud. There are at least two reasons for this, and the first is very obviously that a joke on the page is not the same as a joke being "performed" in person. In delivering this remark I unconsciously used modifiers such as posture, gesture, facial expression, and vocal inflection to emphasise my weirdly judgemental disquiet, all of which are absent in this arena.
The second reason is simply that you weren't there, and context really matters. So join me now as I finally deconstruct the joke in order to explain to an imagined version of the person who was there, my colleague, exactly why she found my remark so hilariously funny.
1) Contextual mood imagery. When the family came into the cafe it must have been about nine o' clock, and there were no lights on because we were about to close. This photonic gloom naturally translated into psychological gloom as we imagined the dejected family together in their cramped caravan wordlessly eating Time Outs.
2) Incongruity. Chocolate is not a solemn foodstuff. It's what a person eats for pleasure and indulgence. Therefore, the image of a disappointed family unhappily eating chocolate is innately incongruous, and therefore funny.
3) Thwarted ambition. It's not entirely clear why failure is always funny, but it is. In this case a family has failed in its attempt to eat nutritious food in a comfortable setting, and so the image of them eating food with no nutritional content in an extremely confined setting contains a lot of humour.
4) Judicious specificness. I've experimentally run through this joke hundreds of times with different chocolate bars, and none of them is as funny as Time Out. Mars: too conventional. Galaxy Caramel: too indulgent. Toblerone: distractingly evocative of travel.
But in 2001, when I made the joke, the Time Out bar had been available in the UK for less than a decade, meaning it still had a very gentle frisson of novelty. Buying a Time Out didn't exactly feel like a special treat, but it was still possible for most of us to remember a time when it did. However, the Time Out bar was also an inescapably ordinary chocolate bar. Some chocolate, some wafer. In terms of ingredients and mouth feel it was like a slightly more substantial Kit Kat. But some time in 1999 confectionary shoppers awoke to find a new contender on the shelves.
"What's this? Kit Kat Chunky. Yes please."
The Time Out had no place to run, and, as we now know for a fact, its days were numbered. The novelty, the agreeability, but also the tragedy of the Time Out made it the perfect ingredient of my very funny joke.
My colleague may not have known why she laughed so uncontrollably when, on that ordinary evening in 2001, I made a humorous remark about some unfortunate holidaymakers, but I knew, and now that I've finally shared my workings I hope that you too will be able to understand the deep, hidden forces that are at work when somebody such as myself says something which is very, very funny for reasons that are not immediately obvious.
Author Rob HearnPosted on May 7, 2017 May 7, 2017 Categories WritingTags analysis, anecdote, humour, Time OutLeave a comment on The Time Out Joke
The grief shark (or, you won't believe what these 7 stories have in common!!!)
Warning: this post contains spoilers for Good Will Hunting, Rushmore, Dean Spanley, Telltale's The Walking Dead, True Detective, Inside Out, and Manchester by the Sea.
When I was 14 my dad died suddenly of a heart attack.
I was out at the cinema on the night that it happened. The last words I said to him were probably, "give me a fiver." I don't know what his last words to me were because he gave me the money without saying anything, and I took it without saying anything, and that was that.
I didn't go to the funeral. I didn't cry. I was too weird, angry, and repressed. I wondered later whether it was strange that I hadn't grieved, but I figured it just came at the wrong time. I was too consumed by adolescent madness.
I pushed my grief down and now it lurks in me, like a shark. I never know where it is, but I'm pretty sure it can't get out, and I don't want it to. Even if I could de-shark myself, as though it were an abcess I could drain, which is another of the things it feels like, I wouldn't, because this is all I've ever been and I don't know how being fixed might change me.
Anyway, let's talk about telly stuff!
After watching Manchester by the Sea a couple of weeks ago, and then enduring the massive bout of crushing melancholia this duly triggered, I realised that throughout my life certain films, television programs, and even videogames have got under my skin, by which I mean I couldn't stop thinking about them after watching or playing them.
Having something get under your skin is different from just being emotionally affected by it. Kramer vs Kramer affected me, in that it seriously bummed me out. Ditto Awakenings, Room, and The Road, but none of these films got under my skin in the way that Manchester by the Sea did.
The stories that have managed to get under my skin, as opposed to just bumming me out, are mainly, but not entirely: Good Will Hunting, Rushmore, Dean Spanley, Telltale's The Walking Dead, True Detective, Inside Out, and Manchester by the Sea.
Four of these came after I had children, and it's pretty obvious that their ability to get under my skin had a lot to do with parenthood. It's much easier to get under my skin now. The Walking Dead is all about looking after a little girl. True Detective is about a man whose daughter died. Inside Out is about a little girl going through a traumatic life experience. Manchester by the Sea is about a man whose children died in a fire. It's possible that if I had watched Kramer vs Kramer and The Road after I had children they would have got under my skin too.
But I don't think so. In all of these examples, parenthood just intensified the effect, in the same way that religion seems to intensify, but not cause, enmity towards others. Being a parent has made me more anxious and emotionally vulnerable, but that has only helped stories to do their work. Good Will Hunting, Rushmore, and Dean Spanley were able to get under my skin without the emotional accelerant of parenthood, so clearly there's an objective, qualitative difference between stories that get under my skin and stories that merely bum me out, above and beyond the presence of sad children.
For the sake of brevity, I'm not going to give a synopsis of any of the films, games, and TV shows I'm about to discuss, so if you haven't seen or played them you won't know what I'm talking about.
The bit of Good Will Hunting that gets under my skin is, obviously, the bit where Sean tells Will that it's not his fault.
See this? All this shit. It's not your fault.
The bit of Rushmore that gets under my skin is when he's introducing his play at the end.
This play is dedicated to the memory of my mother, Eloise Fischer. And to Edward Appleby. A friend of a friend.
The bit of Dean Spanley that gets under my skin is the ten-minute flashback at the end in which Dean Spanley describes the final hours of his previous life as Horatio Fisk's beloved childhood dog.
I am put in memory of my son, Harrington. That is all.
The bit of The Walking Dead that gets under my skin is when Katja realises that Duck has reached the end of his life and Kenny, having been steadfastly ignoring the subject, finally concurs.
Kenny, it's time.
The bit of True Detective that gets under my skin is when wheelchair-bound Rust tells Marty about his near death experience.
And beneath that darkness there was another kind – it was deeper – warm, like a substance. I could feel man, I knew, I knew my daughter waited for me there. So clear. I could feel her.
The bit of Inside Out that gets under my skin is when Joy and Sadness get back to the command centre and Sadness takes control of the console.
I know you don't want me to, but I want my old friends, and my hockey team. I want to go home. Please don't be mad.
These examples all use the same story technique, though in different ways. I call this technique 'grief sharking', and this is how it works.
First, at the outset of the story, or scene, the author establishes that a character – usually the protagonist – has grounds for grief. Then the story goes on to deal with other business that ostensibly has nothing to do with that grief. It disappears under the surface and swims out of view, reappearing only occasionally as a vague troubling shadow, before leaping out of the water and emotionally savaging the audience in the final act.
The technique is used in different ways. In True Detective, perhaps the greatest feat of narrative misdirection on this list, the grief shark barely makes an appearance in eight hours of television. In episode one, while drunk, Rust tersely reveals to Maggie over dinner that he had a daughter, but that she passed, and Marty raises this shock disclosure with him later by way of offering consolation. Much later, while being interviewed by two detectives, Rust mentions his daughter again, this time apparently trying to persuade himself, within his own pessimistic philosophical framework, that her death was a kindness.
I think about my daughter now, you know, what she was spared. Sometimes I feel grateful.
Other than that, she doesn't really make an appearance until the final scene, when Rust discards his ultra-sceptical worldview and describes with wonder the moment he encountered his daughter's soul in the anteroom to the afterlife, before dissolving into tears.
In an instant, every word that Rust has said throughout the preceding eight hours of television, his obsession, his nihilism, his rage, reveals itself to be a symptom of grief. The sceptical mindset he adopted was a way of containing that grief. The whole time he was on screen he was just really, really sad and really, really angry, and everything he did was a result of those emotions.
True Detective is an epic demonstration of highly disciplined grief sharking, but it can take place in a much smaller frame. In Telltale's The Walking Dead it happens within a single sequence. First, Duck is bitten by a zombie. Then, he becomes ill. Then you spend some time walking around solving puzzles, while Duck's father, Kenny, stoically refuses to contemplate the implications of Duck's infection.
The sickly boy being comforted by his mother Katja is a raw wound in the chapter. I found myself looking away whenever I had to cross that bit of scenery, not really thinking about it but hoping on some level that Kenny was right, and, more prosaically, that Telltale wouldn't kill off a child whom the player had got to know.
So when Katja said to Kenny, "It's time," I completely fell to pieces, precisely because up to that point I had been ignoring my grief. It was a grief shark, and it bit me in half.
The authors of Rushmore and Dean Spanley take a different tack, distracting you from the grief shark with whimsy. Early in both films we learn that a close relative of the central character has died. Then for much of the remainder of both films we enjoy a quaint story in which the protagonists develop strange obsessions, before those deaths resurface amid thrashing and blood in the final act.
In Rushmore, Max spends most of the film embroiled in a farcical love triangle with a teacher and a middle-aged man, but when he eventually takes to the stage and dedicates a play to his mother, Eloise Fischer, and to Edward Appleby, a friend of a friend, we come to understand that his infatuation with Miss Cross was never romantic. He just misses his mother, and wants her to be proud of him, and he mistook his craving for something else. (Side note: Wes Anderson uses grief sharking in a lot of his films. One of them, The Life Aquatic, is literally about a grief shark. See if you can think of any more examples of Andersonian grief sharking!)
In Dean Spanley, bereaved brother Henslowe Fisk spends the majority of the film trying to acquire dessert wine in order to coax a dean into admitting that he used to be a dog belonging to Henslowe's father, Horatio Fisk, making him a brother of sorts. It is only when he succeeds in this enterprise in the presence of his father, who has so far exhibited indifference over the loss of his son, that we see what Henslowe has been getting at. Listening to an account of the final hours of his beloved childhood pet, Horatio is put in memory of his son – a place he has hitherto resisted being put. Dean Spanley leads us into the water and the grief shark lunges.
Inside Out uses a different approach. Instead of submerging grief it hyper-articulates it, showing us not only the outer effects but also the internal processes that underpin these effects. In shark terms, it uses a high definition underwater camera and GPS tracking beacon. Through the exploits of Joy, Sadness et al we know exactly what's going on in Riley's head as she copes with the double-loss of her childhood and previous happy life. It's as if there's a whole school of grief sharks on the screen, painted in primary colours and performing tricks.
Except that's not what's happening at all. The exploits of Joy and Sadness are just a colourful, mostly happy distraction. Nobody is at the controls, and Riley is numb. When Sadness finally puts her hands on the console to bring about the simple spectacle of a little girl in distress, the real grief shark breaks away from its rainbow school of decoys and rips your head clean off.
I think stories get under your skin when they articulate feelings that you can't properly articulate to yourself. The story leads you down a neural pathway and into a mental chamber that you can't, or won't, find on your own, and it stays with you until you find your way back.
Stories containing grief sharks aren't the only ones that take you into yourself like this. Manchester by the Sea doesn't contain a grief shark, but it got under my skin more than any other story I've experienced. After a few weeks of sombre reflection I think I might even have worked out why, but the reason has nothing to do with sharks so I won't go into it here.
Obviously, people respond to different stories in different ways. You may be invulnerable to grief sharks, because you're not insane in the exact way that I'm insane, but you might be insane in a different way and susceptible to another kind of storytelling device. However, I would counsel against crowbarring this device into an animal metaphor and writing a blog post about it, because, as you have just discovered, that would be weird.
Author Rob HearnPosted on January 29, 2017 February 13, 2017 Categories TV & Film, WritingTags dean spanley, good will hunting, grief, inside out, manchester by the sea, rushmore, storytelling, true detective, walking deadLeave a comment on The grief shark (or, you won't believe what these 7 stories have in common!!!)
Complete glossary of Netmums acronyms
AFAIK – As far as I know
AF – Aunt Flo (period)
AKA – Also known as
BBL – Be back later
BBT – Basal body temp
BFD – Biscuits for dinner
BIL – Brother in law
BITGOD – Back in the good old days
BRB – Be right back
BTW – By the way
CBG – Consumed by guilt
CS – Considering suicide
DD – Darling daughter
DF – Darling fiance/fiancee
DH – Darling husband
DMTAA – Don't miss them at all
DP – Darling partner
DS – Darling son
DW – Darling wife
EOMCF – Envious of my childless friends
FIL – Father in law
FPM – Full parental meltdown
FWIW – For what it's worth
FYI – For your information
GFBWTF – Getting fat but what the f**k
GFY – Good for you
GMTA – Great minds think alike
HV – Health visitor
IAC – In any case
IFAD – I fantasise about death
IFWIW – I've forgotten who I was
IIRC – If I remember correctly
IMCO – In my considered opinion
IMHO – In my humble opinion
IMNSHO – In my not so humble opinion
IMO – In my opinion
IMOBO – In my own biased opinion
ITIHMC – I think I hate my children
IWSMMFL – I wanted so much more from life
JTYWLTK – Just thought you would like to know
LOL – Lots of luck/lots of love/laughing out loud
LMAO – laughing my a**e off
MIL – Mother in law
OH – Other half
OM – Other man
OMG – oh my god!
OW – Other woman
PILs – Parents in law
PMSL – Peeing myself laughing
PMSS – Peeing myself sneezing
PND – Post natal depression
PTSD – Post tequila slammers depression
RERST – Routinely exceed recommended screen time
ROTF – Rolling on the floor
SATT – Sad all the time
SCP – Secret crying place
SF – Secret family
SFACC – Sexual fantasy about cartoon character
SIL – Sister in law
SLNIDTIWIAOWAOFCBBCP… AILI – So last night I dreamed I was in an orgy with all of the CBBC presenters… and I liked it
SO – Showering optional
TAFT – That's a frightening thought
TBH – To be honest
TSBWTRBCGFH – That smug bitch with the running buggy can go fuck herself
TTC – Trying to conceive
WYSIWYG – What you see is what you get
WRT – With regard to
WTCISD – What time can I start drinking?
WTF – What the f**k?
Author Rob HearnPosted on December 13, 2016 December 13, 2016 Categories WritingTags acronyms, netmums, parentingLeave a comment on Complete glossary of Netmums acronyms
Man ruptures colon after 3-hour search for toilet reading material
A 42-year- old man has ruptured his colon following a three-hour search for something to read on the toilet.
Barry Turtle of Dorking, Surrey, suffered a massive internal hemorrhage last Tuesday as he attempted to locate his book of hilarious golf jokes while simultaneously suppressing a bowel movement. It is estimated that he had been putting off the toilet visit for as long as five days prior to the movement, hoping that the book would just show up.
Paramedics gained access to Mr Turtle's property shortly after being alerted by concerned neighbours at around 5pm, and discovered the man lying unconscious in his kitchen with his legs crossed and a prominent reddy-brown stain on his gusset area.
He was taken to Dorking Community Hospital, where surgeons extracted around 4 kilograms of compacted faeces from his abdominal cavity and stitched up the tattered remnants of his bowel. Doctors are hopeful that Mr Turtle will make a full recovery.
Glorious afterlife
"Oh it was awful," said next door neighbour Flora Threlfall. "At about lunchtime I heard him swearing through the wall, banging about, smashing things, stomping up and down the stairs.
"I knocked for him at about half three to make sure he was okay, and when he opened the door he was pale and sweating and standing very oddly, like a ballet dancer. He was looking right past me with this distant, glazed look in his eyes, as though he could see his ancestors bathed in light and calling out to him from the glorious afterlife."
Relatives who examined the property after Mr Turtle fell unconscious report finding hundreds of books on the floor, as well as upturned and damaged items of furniture strewn throughout the house. In a sign of Mr Turtle's eventual desperation, relatives even found bloody scratch marks in the carpet and walls where he had resorted to digging for the book with his nails.
The book – Golf's Funniest Jokes, by Jim Chumley – was eventually found in the cupboard under the bathroom sink next to the cotton buds where it always goes.
Author Rob HearnPosted on December 6, 2016 Categories Rejected articlesLeave a comment on Man ruptures colon after 3-hour search for toilet reading material
Author Rob HearnPosted on November 22, 2016 Format ImageCategories PortraitsTags House, Hugh LaurieLeave a comment on Hugh Laurie
Scenes from 2017 #1
Author Rob HearnPosted on November 22, 2016 Format ImageCategories Cartoons, PoliticsTags trump, VRLeave a comment on Scenes from 2017 #1
Master Heywood Blog at WordPress.com.


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Q: Add solution file and jsproj file to cloned repo in Visual Studio I cloned a repository from Team Explorer in Visual Studio which came with a folder with Cordova directories and all the code but there's no solution or jsproj file to build the project with. The repo is for a Apache Cordova application. I can open the folder in Visual Studio and view all the files, but again, I can't build/debug it. What are the steps I need to take after cloning a repository for adding a solution to the project so I can build it? Here is what the folder looks like after cloning:

A: Considering there is an .idea folder, check first if yu can use IntelliJ IDEA in order to open and possibly build the project.
That IDE has a Cordova plugin (but only in its Ultimate Edition though)