The future always changes. From heroic space adventures in the 1960s to paranoid cyberpunk in the 1980s, you can learn a lot about the zeitgeist of an era by looking at how people imagined the future. This is also true of most early science fiction from the 18th and 19th centuries. Like today, writers back then projected their fears, ambitions, and prejudices onto a future society that we, as residents of a far-off epoch, can now appreciate with gimlet-eyed hindsight.
The book was touted as its subtitle, "Original Letters of State, Under George the Sixth, Related to the most important Events in Great Britain and Europe . . . from the Middle of the Eighteenth to the End of the Twentieth Century. Received and Revealed in the year 1728; and now published . . . in Six Volumes." The reference to five nonexistent sequels to the first volume was a satirical jab at long-winded memoirs of the time.
The book's format was a series of letters to the British monarch from ambassadors in foreign capitals in the years 1997 and 1998. There was little in the way of technological development in Madden's vision, but there were great political changes: The Ottoman Empire was replaced by a Tatar dynasty, while the papacy ruled supreme with rich holdings in Africa, China, and Paraguay. It also featured interesting elements like a Mexican cheese that never rots, extant native states in North America, a messianic movement arising in Persia, and an army of Central African Jews marching on Egypt. However, much of the material was actually concerned with satirizing 18th-century political and religious concerns rather than serious speculation.
Memoirs of the Twentieth Century was published anonymously in 1733 but then immediately suppressed by both the author himself as well as British prime minister Sir Robert Walpole. This may have been because the content wasn't actually speculations on the future but rather a thinly veiled satire of the Walpole government. Alternatively, it may have been because the identity of the author had become known, and Madden feared the effect of the work on his reputation. Of the 1,000 copies printed, around 900 were returned to Madden, who destroyed them.
In 1763, another futurism-themed book was published in the United Kingdom. It's often confused with Samuel Madden's work but was actually an unrelated anonymously written text. The Reign of George VI: 1900 to 1925 was a sort of British wish fulfillment fantasy, describing the rule of a wise and brave monarch during the early 20th century.
The text portrays Britain as under threat from a Russia ruled by Czar Peter IV, who controls a northern empire which includes Scandinavia and a powerful and threatening navy. The czar was allied with France, which was very much the junior partner in the alliance to dominate Europe. George IV defeats Franco-Russian attempts to invade England in 1900 and forces a peace in 1902 after invading France himself while the Turks attack Russia from the south.
The next decade and a half are peaceful and prosperous for victorious England, with George IV investing heavily in the arts and sciences. He builds a new English capital at Stanley, in Rutland. The city is surrounded by artificial mountains and filled with neoclassical architecture and planned streets, complete with a palace filled with artwork from throughout Europe and Asia.
A second great war with the Franco-Russians occurs from 1917 to 1920. The English again score victories in Europe with the help of allied German and Italian states, though the Spanish joined the enemy side. It would end with the British conquest of France, Mexico, and the Philippines.
The postwar years would feature the development of a great canal transport system and the rise of manufacturing in both the British Isles and the American colonies (which apparently never declared independence). The book ends in 1925 with a great golden age. Perhaps the most unrealistic element is the happiness of the French population under the benevolent rule of an English monarch.
Some have admitted that despite the excessively pro-British sentiment of the text, there are some interesting parallels between Madden's work and real history—20th-century Russian power, the rise of manufacturing in North America, and the strength of a British monarch named George VI during a world war.
Louis-Sebastien Mercier's novel L'An 2440 commences with an 18th-century Frenchman having a heated argument with an Englishman before going off to take a nap and waking up in the year 2440. (The English translation, Memoirs of the Year Two Thousand Five Hundred, changed the year to 2500 "for the sake of a round number.") After some brief confusion in which the future inhabitants assume that the Frenchman is dressing up in historical clothing for the sake of making some philosophical point, he sets off on a tour of the far future.
Mercier was a great believer in Enlightenment thought, and thus, his future Paris is advanced in terms of social order, though not so much in technology. Compared to the 18th century, fashions are much freer and more comfortable. The 25th-century streets are much more orderly than the chaos of 18th-century transportation, with carriages are reserved for infirm judges and men of good character, rather than the nobility (who thus enjoy "more money and less of the gout").
The future society has adopted rationality as the basis of their government and way of life, and the world is at peace. The narrator even encounters a statue of a black man with the inscription: "To the avenger of the New World." In Mercier's future, the European powers were eventually beaten back by slaves and the original inhabitants of the New World, and colonialism was finally abandoned for the good of all. However, Mercier also assumed that the values of Enlightenment Europe would spread worldwide, with the Chinese abandoning their writing system and adopting the French language as well as the Turks drinking wine and watching Voltaire's play Mahomet.
The novel concludes with a visit to the palace of Versailles, which is reduced to "nothing but ruins, gaping walls, and mutilated statues; some porticos, half demolished, afforded a confused idea of its ancient magnificance." There, the Frenchman meets Louis XIV, who has apparently been condemned to remain forever in the remnants of his empire's former glory. Just before asking the monarch a question, the narrator is bitten by an adder and reawakens in the 18th century, bring the story to an abrupt conclusion.
Jane Webb was only a teenager when her mother died and her father's fortune collapsed, and she was left destitute at 17 when her father also died. To make ends meet, she began to write poems and prose, and in 1827, she published a science fiction novel anonymously. This work, The Mummy!: A Tale of the Twenty-Second Century, featured a number of ingenious gardening machines that attracted the attention of botanist John Loudon, who met Webb and quickly married her. Jane Loudon would continue her writing career, but she strayed from speculative fiction into the realms of horticultural manuals.
The Mummy! is a proto-feminist work based on the revival of an ancient Egyptian mummy in the year 2126, a plot device likely inspired by the Napoleonic invasion of Egypt. The book describes a future England that has gone through a series of political and social upheavals and a long period of unhappy anarchy before stabilizing under the rule of female monarchs with a weakened Catholicism as the state religion.
The ladies were all arrayed in loose trousers, over which hung drapery in graceful folds; and most of them carried on their heads, streams of lighted gas forced by capillary tubes, into plumes, fleurs-de-lis, or in short any form the wearer pleased; which jets de feu had an uncommonly chase and elegant effect.
There are also some interesting discussions of technology in between the distraction of a mummy brought back to life a by galvanic battery, who promptly steals a hot air balloon. Mail is delivered by steam cannon, with recipient towns catching their letters in a wire net. Meanwhile, steam powers moving bridges, automaton surgeons and valets, milking machines, lawnmowers, and all the luxuries of 22nd-century England.
In 1828 Russian composer and author Vladimir Fedorovich Odoevsky wrote the story Dva dni zizni zemnago sara (Two Days in the Life of the Terrestrial Globe), which focused on a social gathering in 4338 that was disrupted by the arrival of Biela's Comet, which astronomers of the time believed would collide with the Earth in that year. The comet actually burned up later in the 19th century.
From 1837 to 1839, he worked on a longer, though unfinished, prose piece further exploring the concept entitled 4338 i god (The Year 4338), which was not published until 1926. It was originally intended to be a part of a trilogy set chronologically in the period of Peter the Great, Odoevsky's own time, and the far future, but this was never completed. Odoevsky's work would ultimately languish in obscurity for almost a century before people started to reappraise his significance.
4338 purports to be a series of letters by Chinese student Hippolytus Tsungiev, who is visiting Russia in the early 44th century and maintaining a correspondence with a friend back in Peking. The letters were apparently reproduced in the 19th century thanks to specialist Mesmeric experiments. The future is dominated by the science and technology of Russia, with China slowly catching up and modernizing. Meanwhile, much of Western civilization has been lost to history, though apparently US tourists still exist.
Various fantastic technologies are described, such as a magnetic telegraph communication system, galvanic flying machines piloted by professors, recreational use of chemical elements, climate control, and military expeditions to the Moon. Sanit Petersburg is such a large city that it encompasses Moscow within its suburbs, while the cash-strapped English are selling parts of the British Isles to Russia.
On the other hand, many records of the distant past have been lost due to the degradation of paper. Horses have been bred into dog-sized pets, and some believe the tales of horse riders to be merely allegory. Those who believe men once rode horses contend that they were slowly replaced by flying machines following the birth of Christ. Scattered records of steam locomotives are assumed to have only been ridden by great heroes of a lost age, and there is much scholarly disagreement over exactly who the long-vanished Germans actually were.
Three Hundred Years Hence tells the story of Edgar Hastings, who lives in Philadelphia in 1835. Intending to catch a steamship, he instead falls asleep in a farmhouse, which is suddenly engulfed in a bank of snow. The steamship explodes, and his family assumes him dead. He stays frozen for 300 years until he is finally dug up by his descendants, who are cutting a road through a hill in the year 2135.
Hastings is astonished by the changes: Although few buildings from his time remain, there have been numerous technical and social improvements, which his descendants tell him are the result of educating poor women. Horse and steam transport have been replaced by a mysterious self-propulsion system that can be halted with a simple crank. The emancipation of women ended many of the evils of the past, including wars, trade monopolies, capital punishment, tobacco, and foot-binding in China. On the other hand, copyright is inheritable, and drunkenness is punished by forced labor, head-shaving, and summary divorce.
And the twanging of their bow-string is a forgotten sound.
Where dwelleth yesterday—and where is echo's cell?
Where hath the rainbow vanished—there doth the Indian dwell!
In 1883, John Macnie published The Diothas; or, A Far Look Forward under the pseudonym "Ismar Thiusen," who is also the supposed protagonist of the tale. Thiusen, a 19th-century man, is sent through time to the far future by means of a mesmeric experiment. He arrives in the 96th century and finds himself in a great port city, filled with unfamiliar architecture and advanced technology, standing on the site of former New York. Macnie used the tale to explore an idealized version of the future, though unlike other utopian works of the period, it was formed from more conservative impulses.
Mancie's ideal society is classless but neither communistic nor particularly democratic. Property is respected. Thanks to extensive mechanization, people have to work only three or four hours a day, but idleness is treated as a vice and a crime. There have been a number of astounding technological improvements, such as the development of ualin, a form of glass with the strength and malleability of metal. There are personal phonographs and stenographs in every household as well as paved roads with electric automobiles that can travel at speeds as great as 32 kilometers per hour (20 mph).
Thiusen meets and falls in love with a woman named Reva Diotha, whom he realizes is a distant descendant of his 19th-century sweetheart Edith. Much of the narrative switches between sentimental romance and astonishment and exposition on the benignly undemocratic utopia. This comes to an end when Thiusen accidentally kills his new fiance after making an error piloting an advanced speedboat, though they manage to quickly wed before a fatal plunge over a waterfall.
In 1889, retired New Zealand premier Sir Julius Vogel wrote what is generally considered to be the country's first science fiction novel—Anno Domini 2000; or, Woman's Destiny. Four years before women won the right to vote in New Zealand, Vogel looked a century ahead to a world ruled by a prosperous and female-dominated British empire.
In Vogel's 20th century, it's be acknowledged that while men were physically superior to women, the reverse was true of intellectual capability, and therefore, most government posts are in female hands. After a near collapse of the British colonial system over the Irish question, pressure from the Dominions would lead the British empire to become a federated system with the monarch becoming the emperor of Britain, Ireland, Canada, Australia, New Zealand, India, South Africa, Egypt, Belgium, and more.
Aluminum air-cruisers powered by revolving fans have revolutionized travel, while communications are instantaneous through the "noiseless telegraph." Hydroelectric power, industrialization, and a comprehensive social welfare system have relieved all poverty, and life is made easier through "remarkable contrivances for affording power and saving labor." New Zealand becomes a major leader in industry, fishing, tourism, horticulture, wine-making, and Antarctic research.
Vogel's tale focuses on former Imperial Prime Minister Hilda Fitzherbert, who is kidnapped by a villainous Australian republican who intends to seduce her. He fails, and Fitzherbert falls in love with the emperor, but this scuttles a deal to marry him to the daughter of the president of the United States. An Anglo-American war ensues, ending happily with US defeat and the absorption of New York and a number of other states into the Dominion of Canada.
Interestingly, when the book was republished in 2000, New Zealand women held the positions of prime minister, leader of the opposition, attorney-general, chief justice, governor-general designate, and CEO of New Zealand's biggest company. Today, Kiwi authors of science fiction, fantasy, and horror compete for the Sir Julius Vogel Award thanks to his groundbreaking speculative fiction.
Written in 1892 by Scottish author J. McCullough under the pseudonym "J.A.C.K.," Golf in the Year 2000, or, What We Are Coming To tells the story of Alexander J. Gibson, who falls asleep for over a century and wakes up in the year 2000. Luckily, he wakes up in his home, where a surprised servant informs him of his plight and helps him to have his unkempt beard shaved off.
Though McCollough didn't seem to take the book he was writing very seriously, he managed a number of pertinent predictions: The year 2000 features colored photographs, a form of television in which theater performances are transmitted by mirrors, and electric bullet trains called tubular railways, which are even used for three-hour transatlantic voyages.
As much of the plot revolves around games of golf, many futuristic innovations appear on the green. Self-propelled mechanized caddies transport clubs, specialized golfing jackets automatically proclaim "Fore!" on swings, and the golf clubs themselves keep score. McCullough even predicted the development and success of televised sports, though again accomplished by mirrors and generally viewed in theaters.
The world is rather more peaceful, thanks to the development of a kind of exploding gas that renders everyone within a 16-kilometers (10 mi) radius unconsciousness for two days. As the technology made open warfare a rather impractical affair, the leaders of the year 2000 resolve geopolitical differences in a far more civilized fashion—golf tournaments.
Mantegazza's work seems particularly interesting for its somewhat accurate predictions of future technologies, including CAT scans, aerial flight, credit cards, prefabricated homes, synthetic foods and drugs, and artificial intelligence. Movie theaters exist in the form of the panopticon. The development of 4-D multisensor cinema is presaged in the form of a device called the aesthesiometer, which is installed in theater seats and provides varying levels of visual, auditory, and olfactory sensation.
Meanwhile, the history of the future includes catastrophic war and European federation, presaging the World Wars and the formation of the European Union. The citizens of the far future speak a common cosmic tongue and have a single, bureaucracy-free government. They enjoy long lives, reasonable working hours, universal suffrage, and the right to divorce. Mental illness has been nearly eradicated, and crime has dropped to levels so low that the judiciary and police force has been disbanded.
Oh, my dear Maria, how comical these planetary angels are, how grotesque, above all, how impossible! [ . . . ] We can imagine only anthropomorphic forms, and so, just as the ancient founders of theogonies could fashion their gods only by clothing them in human skin, so these odd creators of supermen were unable to go beyond the human and the animal world.
In the year 2525, if David Tormsen is still alive, you may find him at [email protected].


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Shaping the Electoral College Part V
Rodney Dodsworth August 19, 2019 November 8, 2019 Comments Off on Shaping the Electoral College Part V
Subtitle: June 9th.
Our Framers were not about to substitute one national tyrant with another. All had lived under the abuses of George III and his royal governors. Less well-known today is the 1776 reaction by the newly independent States. In an 18th century version of "power to the people," the States set up overly democratic governments featuring weak governors. Although the rules varied from State to State, most legislatures appointed governors, made judicial appointments, and even served a judicial role. Property wasn't secure as the legislatures ran from one extreme to another according to the passions of the day. They violated wholesale Charles De Montesquieu's admonition against combining legislative and executive power.
So, Americans had suffered under strong executives and suffered under weak ones; they wanted neither. They sought a balance in which power was properly divided among branches, each with their own rights and prerogatives, such that no man or group of men could rule by fiat.
As opposed to the headless Articles of Confederation, the ideal administrator in our new republic was powerful enough to check legislative mistreatment, yet was sufficiently limited in his own powers. Furthermore, per Montesquieu, this man must not be the tool of any institution, faction, or collection of factions which we know today as political parties. The American President was independent of the other branches, yet not isolated from them.
We cannot overstate the Framer's efforts to avoid the executive abuses of George III as well as the democratic abuses of overly popular government. The chief executive must depend on the foundation of all republics, the people, yet not be so beholden to them that he and the office descend into tyranny.
On June 9th, the Committee of the Whole returned to executive elections. Since the goal was to provide an endless succession of men equal to George Washington, delegates sought an electoral method that identified and appointed such men. Why not rely on the judgement of other chief officers to identify in others the requisite traits in public virtue and leadership?
Elbridge Gerry (MA) proposed executive election by the State governors in proportion to each State's representation in the Senate. At this point in the proceedings Senate membership was proportioned, like the House, according to population. There's also been a shift in thinking of the chief executive away from his mere duty to execute the law. Unlike the English monarch, he wasn't to be the heart and soul of the nation, but perhaps he should be its face, the man other nations regarded and respected as the limited leader of a free people.
So, instead of a tight connection with the authors of the law per the Virginia Plan, Gerry moved to establish an executor independent of Congress. He described election by governors as analogous to the principle observed in electing the other branches of the national government: the first branch being chosen by the people of the States, and the second by State legislatures. He did not discern any objection to this method and supposed the governors would select fit men for the office. Afterward, it would be their interest to support the man of their own choice.
While Gerry's chief executive was not a tool of Congress, Virginia Governor Edmund Randolph opposed State governors as electors because the chief executive would lack the confidence of the people. Furthermore, expect State governors to select a man from amongst themselves, meaning covert side deals and corruption. He doubted the election ever of men from small States, and wasn't confident in the governor's familiarity with men outside their States. Finally, governors are very close to their legislatures, and would likely direct their governor's vote for a national chief executive.
A national Executive thus chosen would not likely defend with vigilance & firmness the national rights against State encroachments. He did not envision that governors would feel the interest in supporting the national Executive which had been imagined. As Randolph put it, "They will not cherish the great oak which is to reduce them to paltry shrubs."
Gerry's motion for governors as executive electors was defeated, 10-0-1.
Delegates had so far considered and rejected elections by the people, the House of Representatives, Congress, State Legislatures, Governors, and through temporary electors from special districts. All except one method shared a fatal deficiency: sitting Presidents beholden to men with interests too narrow for the man who was to represent the American republic.
Uncategorized Charles de Montesquieu, Democracy, Edmund Randolph, Elbridge Gerry, Electoral College, Framers' Electoral College, June 9th, State Governors
Shaping the Electoral College Part IV
Shaping the Electoral College Part VI of XIV

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Rupert Alexander Lloyd Grint (; born 24 August 1988) is an English actor. Grint rose to fame for his role as Ron Weasley in the Harry Potter film series, for which he was cast at age eleven, having previously acted only in school plays and his local theatre group. Since then, he continued his work on film, television, and theatre.

Beginning in 2002, he began to work outside of the Harry Potter franchise, with a co-leading role in Thunderpants. He starred in the dramedy Driving Lessons (2006) and the drama Cherrybomb (2009) and co-starred in the comedy Wild Target (2010). After the Harry Potter series concluded, he appeared in the films Into the White (2012), Charlie Countryman (2013), CBGB (2013), and Moonwalkers (2015). He made his stage debut in 2013 in Mojo at the Harold Pinter Theatre. He executive-produced and starred in the television series Snatch, based on the film of the same name. He has also starred in the black comedy series Sick Note, the mystery thriller miniseries The ABC Murders, and the psychological horror series Servant.

Early life
Grint was born on 24 August 1988 in Harlow, Essex, to Nigel Grint, a dealer in racing memorabilia, and Joanne Grint (née Parsons). He is the eldest of five siblings. He has said that his earliest goal in life was to become an ice cream man. He grew up in Watton-at-Stone, Hertfordshire, and was educated at Richard Hale School, in Hertford.

While in school, he took an avid interest in theatre. He began performing in school productions and joined the Top Hat Stage and Screen School, a local theatre group that cast him as a fish in Noah's Ark and a donkey in a nativity play. He continued participating in school plays as he moved into secondary school. Nonetheless, he had never acted professionally prior to the Harry Potter series. He left school at sixteen to focus on his acting career, saying he "didn't really like school that much".

Career

1999–2011: Harry Potter and worldwide recognition
Starting in 1999, casting began for the film adaptation of Harry Potter and the Philosopher's Stone, the best-selling novel by J. K. Rowling. Rowling insisted the cast be British, and assisted Susie Figgis and director Chris Columbus in casting the roles. Grint, a fan of the book series, chose to audition for the role of Ron Weasley, one of Harry Potter's best friends at Hogwarts. Having seen a Newsround report about the open casting, he sent in a video of himself rapping about how he wished to receive the role, and the casting team asked for a meeting with him. On 8 August 2000, Daniel Radcliffe, Emma Watson, and an 11-year-old Grint were selected to play Harry, Hermione Granger, and Ron. Grint is the oldest member of the trio. The release of Harry Potter and the Philosopher's Stone in 2001 was Grint's debut screen performance. Breaking records for opening-day sales and opening-weekend takings, it was the year's highest-grossing film. With a total of US$974 million in its theatrical run, it stands as the series' second most commercially successful entry. It was critically well-received, scoring mainly positive reviews. However, a number of critics found the adaption's faithfulness to the book both its best and worst quality. Grint won a Satellite Award in the category of Outstanding New Talent, and a Young Artist Award for Most Promising Young Newcomer.

A year later, Grint again starred as Ron in Harry Potter and the Chamber of Secrets (2002). It opened to positive reviews and critics generally enjoyed the lead actors' performances. Both Los Angeles Times and New York Magazine observed that Grint and his peers had matured between films, with the latter pointing out that Grint had become "more proficient" and said they missed "the amateurish ardour" the actor and Watson carried in Philosopher's Stone. Harry Potter and the Prisoner of Azkaban (2004) was released on 31 May in the UK. The film sees all three of its lead characters hover on the brink of adolescence, "and while they look braver and more capable than before, the dangers they face seem far more grave and their own vulnerability more intense." Alfonso Cuarón took over direction for Prisoner of Azkaban, which remains the lowest-grossing Harry Potter film with US$795 million in revenue. Nonetheless, it was the second highest-grossing movie of 2004, behind Shrek 2.

In 2005, Grint reprised his role for the fourth film in the series Harry Potter and the Goblet of Fire. The adaptation, unlike previous films, explored romantic elements and included more humour. In a 2005 interview with IGN, all three lead actors singled out humour as a reason for the film's success. It was directed by Mike Newell, whom Grint characterised as "really loud and not afraid to swear at you, but he was really cool." Goblet of Fire is one of the series' best-reviewed instalments, and is noted for its characters' maturity and sophistication, darker and more complex plotline, and the quality of the screenplay and lead actors' performances.

Harry Potter and the Order of the Phoenix, the fifth film in the Harry Potter franchise, was released to cinemas in 2007. A huge financial success, it set a record worldwide opening-weekend gross of US$394 million, superseding Spider-Man 3. It was directed by a new filmmaker, David Yates, who directed all of the subsequent Potter films. Grint said the laid-back director was "really good" and helped keep the material fresh. Grint and his Harry Potter co-stars left imprints of their hands, feet and wands in front of Grauman's Chinese Theater in Hollywood.

On 15 July 2009, the series' sixth instalment, Harry Potter and the Half-Blood Prince, was released and again set box office records. In its theatrical run, it earned US$933 million ticket sales. It is also one of the most positively reviewed Harry Potter films, with critics praising its "emotionally satisfying" story, direction, cinematography, visual design and music. Grint observed a change in Ron in this entry, pointing out that his once insecure, often overshadowed character started to become more secure and even began to show a dark side. He found it fun to personify a more emotional Ron. Between 2009 and 2010, Grint's work received three award nominations, including one win—an Otto Award from the German magazine Bravo.

Despite the previous films' successes, the franchise's future was put into question when the three lead actors had reservations about signing on for the final two films. However, by March 2007, Grint agreed to return for the last installments. For financial and scripting reasons, the final book was divided into two films, shot back-to-back, with filming concluding in June 2010. After completing the final film, Grint said: "I mean it literally has been my childhood, and suddenly it all came down to really just one random scene, with us jumping through a fireplace, and then it was over. ...it's very odd. Because suddenly it was all over, just like that. It was really emotional for all of us, realising that we're never going to be doing this again."

Harry Potter and the Deathly Hallows – Part 1 (2010) was released in November and grossed over US$950 million. It set several box office records and received mostly favourable reviews. Grint's portrayal of Ron again earned him critical praise. Reviewing the adaption for Slate, Dana Stevens called all three of the leads "terrific". Although he disliked the film, Joe Morgenstern of The Wall Street Journal wrote that "Grint has grown up to be a skilful actor who knows the value of a slow burn". New York Post writer Lou Lumenick, however, felt that both Grint and Radcliffe had grown weary of playing the characters and expressed it in their performances. Grint's performance brought him nominations from the MTV Movie Awards and National Movie Awards for Best Fight and Performance of the Year in 2011. He reprised his role for the seventh time in Harry Potter and the Deathly Hallows – Part 2, the final Harry Potter instalment. It resumed from where the previous film left off, and included a lot of action, whereas Part 1 had focused more on character development. Grint, along with the film, was critically acclaimed: Ann Hornaday of The Washington Post wrote, "Who could have predicted that Radcliffe, Grint and Watson would turn out to be good actors?". The film broke several box office records, including biggest midnight release, biggest first-day opening, and biggest opening-weekend. Deathly Hallows – Part 2 became the fourth highest-grossing film of all time.
Harry Potter author J. K. Rowling gave a speech at the world premiere of Harry Potter and the Deathly Hallows – Part 2 on 7 July 2011 in London. She said that there were seven Harry Potter film series cast members whom she called "The Big Seven"; Grint was one of them, with Daniel Radcliffe, Emma Watson, Tom Felton, Matthew Lewis, Evanna Lynch and Bonnie Wright.

2002–2011: Concurrent film work during Harry Potter
In 2002, Grint starred in his first non-Harry Potter film, Thunderpants, which revolves around Patrick (played by Bruce Cook) whose remarkable capacity for flatulence scores him a job as an astronaut. In this film, Grint played the co-lead role of Alan, an anosmic boy who is Patrick's only friend. It was generally ignored by critics and audiences. Most critics that did take notice of it did not respond well to it, with one writing: "This film should be shown in prisons so that inmates have a good reason to never return." Grint also appeared in Driving Lessons, a comedy drama released in 2006, starring opposite Julie Walters. It met with a mixed reception by critics, but his portrayal of an oppressed teenage boy was generally praised. Alt Film Guide'''s Andre Soares wrote: "Grint, on the other hand, is a revelation . . . [He] displays an innate naturalness mixed with personal charisma that turn a potentially pathetic Christian freak into a humorous, thoroughly likable – if more than a little awkward – young man".

In July 2008, it was announced that Grint would star in the drama film Cherrybomb with Robert Sheehan and Kimberley Nixon. Grint found shooting this film very different from the Harry Potter films, as he had to adjust to doing a dozen scenes per day. Grint's character—Malachy, a worker at Belfast—goes to great lengths to impress his boss's daughter, with whom he is infatuated. This film, like his next project, involved him playing violent roles. Despite premiering at the 2009 Berlin International Film Festival, the film was initially unable to find a distributor. An online campaign by Grint's fans was credited with helping to secure a distribution deal in the UK in 2010.

Jonathan Lynn directed Grint in Wild Target, a 2010 comedy thriller, where he starred with Emily Blunt and Bill Nighy. A remake of the 1993 French film Cible Emouvante, it was made on a relatively small budget of US$8 million. It was a commercial failure, earning only US$3.4 million, and garnered mostly negative reviews in the media, which criticised it for dishonouring the original film and wasting the comedic potential of its cast. However, Grint also attracted some positive notice: "It's nice to see Rupert Grint perform well in a role other than that of Ron Weasley, and it's clear that he's got a career ahead of him."

In January 2011, Grint made a cameo appearance on the BBC popular comedy show Come Fly with Me, starring comedy duo Matt Lucas and David Walliams (Little Britain). In March 2011, he was cast as the lead character in the small-budget anti-war Norwegian film Into the White, directed by Petter Næss. Principal photography started in April, and the film, which was shot on location, was released in 2012. It is based on a real incident that took place on 27 April 1940, when German Luftwaffe pilot Horst Schopis's bomber was shot down at Grotli by a Royal Navy Fleet Air Arm Blackburn Skua, which then crash-landed. The several German and British crew members found shelter by chance during a harsh winter there.

In August 2011, Grint did a photo shoot with his friend and Harry Potter co-star Tom Felton in Los Angeles for the autumn/winter collection of the fashion label Band of Outsiders. In September 2011, it was announced that Grint would voice a character in the film adaptation of Postman Pat along with David Tennant, Stephen Mangan and Jim Broadbent; it was released in May 2014. Grint also appears in the music video for Ed Sheeran's song "Lego House", released on 20 October 2011.

2012–present: Further work, theatre, and television
In March 2012, the "Visit Britain" TV ad was released, featuring Grint alongside Julie Walters, Michelle Dockery and Stephen Fry, promoting holidaying at home in the UK. Later that month,Variety reported that Grint had been cast alongside Chloë Grace Moretz in The Drummer, a biopic film about drummer Dennis Wilson of the Beach Boys. That day, The Hollywood Reporter confirmed it and announced that filming would begin 15 June 2012 in California and Savannah, Georgia.

On 25 July 2012, Grint carried the 2012 London Olympic torch during the Olympic Torch Relay, part of the London 2012 Summer Olympics. He told the BBC News that it was an "overwhelming" experience that he "hoped to remember forever", and told The Daily Telegraph, "It was amazing, it was really overwhelming. It's just such an honour to be a part of this. I'm really proud". In October 2012, he narrated We Are Aliens, a 25-minute 3D Planetarium Fulldome film about the possibility of other intelligent life in the universe.

On 13 February 2013, The Hollywood Reporter's Live Feed announced that Grint would star in a television pilot for CBS called Super Clyde. It did not become a series. In July 2013, it was confirmed that Grint would make his stage debut in the second run of Jez Butterworth's black comedy Mojo, with Grint playing Sweets, a hood who "pops amphetamines like Smarties" and "does a sort of double act, full of comic menace". The play, which also starred Brendan Coyle, Ben Whishaw and Daniel Mays, was based on real-life events, and ran from 26 October 2013 to 8 February 2014 at the Harold Pinter Theatre in London. Grint won the WhatsOnStage Award for Best London Newcomer for his role.

In September 2013, The Hollywood Reporter confirmed that Grint would star in an adaptation of Macbeth called Enemy of Man, also featuring Sean Bean, Charles Dance, Jason Flemyng, James D'Arcy, Neil Maskell and Joe Gilgun, and directed by Vincent Regan. Filming began in January 2014 in the United Kingdom.Rupert Grint in Hunger TV photo shoot preview, Enemy of Man filming in January 2014  Snitchseeker.com, Retrieved on 6 September 2013 In June 2014, it was announced that Grint would make his Broadway debut as Frank Finger in the play It's Only a Play at the Gerald Schoenfeld Theatre, appearing with Matthew Broderick, Nathan Lane, Stockard Channing, and Megan Mullally. It ran from 28 August 2014 to 4 January 2015.

Since 2019, Grint has starred as Julian Pearce in the Apple TV+ psychological horror series Servant. The series has been critically praised. In December 2021, the show was renewed for its fourth and final season.

Grint will star in the Netflix anthology series Guillermo del Toro's Cabinet of Curiosities and in M. Night Shyamalan's thriller film Knock at the Cabin. He also reunited with multiple cast members of the Harry Potter film series for an HBO Max special, Harry Potter 20th Anniversary: Return to Hogwarts'', which premiered on 1 January 2022.

Personal life
Grint has been in a relationship with actress Georgia Groome since 2011. They have a daughter, Wednesday, born in May 2020.

Amidst the 2009–10 influenza pandemic, Grint contracted H1N1 swine flu and suffered mild illness. He took part in the 2012 Summer Olympics torch relay, carrying the flame through Hendon in northwest London to outside Middlesex University.

He joined Instagram in November 2020, posting a photo of himself holding his newborn daughter. He reached one million followers within four hours and one minute of creating his account, breaking the previous Guinness World Records title for the fastest time to reach one million followers on the platform.

Grint is a keen football fan and an avid supporter of Tottenham Hotspur.

Philanthropy
Grint has supported various charitable organisations, including donating personal items to charity auctions. He participated in the Wacky Rally in 2010 with James and Oliver Phelps, which raised money for Britain's Royal National Lifeboat Institution. He was one of more than 40 people to produce designs for the Chrysalis Collection for Keech Hospice Care in Luton. His piece, a painted butterfly, was auctioned on eBay in March 2010. In May 2011, with other celebrities, he took part in the "Make Mine Milk" ad campaign to promote daily milk drinking. His ads were seen on posters and the sides of thousands of buses across the United Kingdom. Since 2011, he has supported the Little Star Award for Cancer Research UK. "I think that it's wonderful that Cancer Research UK is helping to bring a little bit of magic to the children's lives in this way," he said.

Filmography

Film

Television

Video games

Stage

Music

Other roles

Awards and nominations

See also
 List of Harry Potter cast members

References

External links

 Rupert Grint: Overview at MSN Movies site

1988 births
Living people
21st-century English male actors
People from Harlow
English male child actors
English male film actors
English male radio actors
English male television actors
Male actors from Essex
English male stage actors
English male video game actors
English male voice actors
People from Watton-at-Stone
People educated at Richard Hale School

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text:
An idiosyncratic first-person travelogue about race relations and tourism from radio producer Rich Robinson and television producer Josh Seftel. Their radio story is about a trip they took to the new South Africa. Rich Robinson is black. Josh Seftel is white. The interracial pair travel through the still mostly-segregated society and have very different opinions about what they see, especially when it comes to some distant relatives of Josh's in South Africa.
yimix
More than England, or Japan or Israel.... When we think of South Africa, it's a more interesting mirror of the United States than nearly any country, because we glimpse a distant echo of the most frightening parts of American society — and the most inspiring. In this prologue, we hear excerpts from a speech Robert Kennedy gave in South Africa in 1966 and an interview with South Africa writer Lewis Nkosi, who remembers how black South Africans imitated black Americans and looked to the American experiment for hope — as many Americans now look to South Africa for hope. (6 minutes)
Josh Seftel
The first part of Josh Seftel and Rich Robinson's documentary about South Africa. Josh meets people who may be distant South African relatives. He likes them. But because his black friend is with him, he's very nervous that they might be racists. Quizzing them at length at dinner, he finds that one of them is one of Nelson Mandela's doctors. Their kids were very active in the struggle against apartheid. Rich, however, is disturbed by the way they talk about their servants and talk to their servants, and the way they talk to him. Figuring the only way they'll get along again is if they hit the road and get away from Josh's relatives, they start a trek across South Africa, first stopping in an African village. (22 minutes)
Josh Seftel and Rich Robinson's trek across South Africa continues. They head to the "South African Woodstock" and to a group that's half Nancy Reagan's "Just Say No" campaign and half terrorist campaign. They have more fights about what they're seeing. They have another set of encounters with Josh's family — these far more ambiguous in their meaning. Rich's opinion softens. Josh's changes too. (26 minutes)
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text:
Szelmostwa Skapena (fr. Les Fourberies de Scapin) – trzyaktowa sztuka Moliera inspirowana komedią antyczną (w szczególności sztuką Formion Terencjusza) oraz włoską commedia dell'arte. Po raz pierwszy wystawiona w Théâtre du Palais-Royal 24 maja 1671 roku przez Trupę Króla, którą kierował Molier. Wydarzenia komedii rozgrywają się w Neapolu.

Streszczenie
Podczas gdy jego ojciec przebywa w podróży Oktaw, syn Arganta, zakochuje się i żeni z Hiacyntą, młodą, biedną dziewczyną nieznanego pochodzenia. Tymczasem Argant zamierza ożenić syna z córką Geronta z Tarentu. Również pod nieobecność swego ojca Leander, syn Geronta i przyjaciel Oktawa, zakochuje się w Zerbinecie, młodej Cygance.

W obliczu niespodziewanego powrotu Arganta, Oktaw, zaniepokojony, iż reakcja ojca na wieść o jego ożenku może być gwałtowna oraz potrzebując pieniędzy ucieka się do pomocy Skapena, służącego Leandra. Leander dowiaduje się o porwaniu dla okupu jej ukochanej przez Cyganów i również prosi o pomoc Skapena.

Dzięki zuchwałym podstępom i intrygom Skapen uzyskuje niezbędne środki dla Oktawa i Leandra od ich ojców. Intrygi Skapena jednak się wydają i szczęśliwe dla amantów zakończenie jest możliwe nie tyle dzięki przemyślnym konceptom i fortelom Skapena, co dzięki zaskakującemu odkryciu, iż Hiacynta jest zaginioną córką Geronta, a Zerbineta córką Arganta, porwaną przez Cyganów w dzieciństwie.

Postaci
 Argant (Argante) – bogaty mieszczanin, ojciec Oktawa i Zerbinety
 Geront (Géronte) – bogaty mieszczanin, ojciec Leandra i Hiacynty
 Oktaw (Octave) – syn Arganta, kochanek Hiacynty
 Leander (Léandre) – syn Geronta, kochanek Zerbinety
 Zerbineta (Zerbinette) – uważana za Cygankę, córka Arganta i kochanka Leandra
 Hiacynta (Hyacinte) – córka Geronta i kochanka Oktawa
 Skapen (Scapin) – służący Leandra
 Sylwester (Silvestre) – służący Oktawa
 niania (Nérine) – opiekunka Hiacynty
 Karlo (Carle) – szelma
 dwóch portierów

Pierwsza obsada
Pierwotnie rolę Skapena grał sam Molier. La Thorillière występował w roli Sylwestra, Mlle Beauval w roli Zerbinety, Du Croisy w roli Geronta, Hubert w roli Arganta, La Grange w roli Leandra, Baron w roli Oktawa oraz Catherine de Brie lub Armande w roli Hiacynty. Według Jacques'a Copeau oryginalnie sztuka wystawiana była przy użyciu masek, zgodnie z tradycją commedia dell'arte, jednak pewne jest to jedynie w przypadku ról Arganta i Geronta.

Inscenizacje
Szelmostwa Skapena zostały po raz pierwszy wystawione przez Trupę Króla (Troupe du Roi) w niedzielę 24 maja 1671 w Théâtre du Palais-Royal. Sztuka miała być wystawiana do czasu zakończenia montażu maszyn potrzebnych do wystawiania Psyché, która premierę miała na dworze królewskim 17 stycznia 1671. Szelmostwa Skapena nie odniosły jednak sukcesu, wpływy z biletów szybko spadały. Po 18 spektaklach, 24 lipca 1671, zostały zastąpione przez Psyché i nie były już więcej wystawiane za życia Moliera, którego wymagająca rola Skapena bardzo wyczerpała. Po śmierci Moliera sztuka zyskała jednak duże uznanie: od 1673 do 1715 była wystawiana w Paryżu 197 razy, choć tylko 3 razy na dworze królewskim. Od utworzenia Comédie-Française do naszych czasów grano ją 1340 razy. W 1990 rolę Skapena odtwarzał Daniel Auteuil (inscenizacja w Awinionie).

Adaptacje filmowe
 Les Fourberies de Scapin, film telewizyjny zrealizowany przez Jeana Kerchbrona, pokazany po raz pierwszy w 1965
 Les Fourberies de Scapin, film zrealizowany przez Rogera Coggio, wyświetlany w kinach w 1980

Bibliografia
 Jean Emelina, Les Valets et les Servantes dans le théâtre de Molière, Aix-en-Provence, La Pensée universitaire, 1958
 Les Valets et les Servantes dans le théâtre comique, en France, de 1610 à 1700. PUG, Grenoble, 1975
 Charles Mauron, Psychocritique du genre comique, Paris, Corti, 1964
 Yves Moraud, La Conquête de la liberté de Scapin à Figaro, Paris, PUF, 1981

Linki zewnętrzne
 Szelmostwa Skapena w oryginalnej, francuskiej wersji
  na stronie CÉSAR
 Lista realizacji w Polsce po 1945 r. na stronie E-Teatr.pl
 Valets et servantes na stronie Tout Molière
 Szelmostwa Skapena w tłumaczeniu Boya w serwisie Wolne Lektury

Twórczość Molière'a
Utwory literackie z 1671


Now in its second edition, the New Grove and its companion series, The New Grove Dictionary of Operas (1992) and The New Grove Dictionary of Jazz (2nd ed., 2001), collectively form the corpus of Grove Music Online, an online subscription research service. In contrast to this massive collection, the editor of the New Grove, the late Stanley Sadie, published in 1996 The Grove Book of Operas, a single-volume reference that offered "synopses of 264 of the most popular and most commonly performed operas," arranged alphabetically according to title. This was hardly a new idea. However, with its content being derived from The New Grove Dictionary of Operas, yet written in a style aimed at a wide non-specialist audience, The Grove Book of Operas proved to be an immediate success.
Laura Macy succeeded Sadie as editor of the Grove Music Dictionaries in 2001 and Oxford University Press became their publisher in 2003. Although the focus of attention has been on the development of Grove Music Online, a second edition of The Grove Book of Operas now appears in which Macy acts as revising editor. The new edition, according to Macy, "retains the style and basic layout of the first," albeit with a "more generous use of space and a more readable font." Macy therefore limited her editing duties to updating entries, to selecting "the very few operas that we had room to add," and to making "the tough decisions about which few operas could afford to be deleted." In addition, she commissioned David J. Levin to write an introductory essay about trends in contemporary opera production.
Any compilation purporting to be a definitive selection of core repertory is bound to engender controversy as to what works are included and what works are excluded. The new edition adds entries on relatively new works, such as The Death of Klinghoffer (première 1991) and Sophie's Choice (première 2002). Yet, no works by Thomas Adès or Jonathan Dove are included. Similarly, no works by Vaughan Williams, Barber or Copland, established composers appreciated on both sides of the Atlantic, are included; but, Harrison Birtwistle is ostensibly over-represented with three distinct entries (the same number accorded Prokofiev and Stravinsky). Time will tell whether these editorial decisions were made wisely. Thankfully, recommended recordings are not included,2 which would inevitably exacerbate the controversy and, over time, needlessly taint the book as dated. In any event, readers may consult The New Grove Dictionary of Operas for omitted material, although a new print edition is not currently contemplated.
Each entry follows a common format with (1) an opening statement about genre, première, librettist and cast, (2) a cast list, (3) an outline of background information and the synopsis, and (4) an editorial note. The length of the entries varies. Few entries exceed four pages, Orfeo ed Euridice being a notable exception because of its tabular comparison of the Italian and French versions.3 Some entries, such as Lucrezia Borgia, barely take up one complete page. No entry provides a bibliography or references. The book's back matter, however, includes a glossary, an index of role names, an index of incipits (beginning words) of arias, ensembles, etc. and an index of operas and composers. An index of librettists and a general subject index would be welcome additions.
Where the entries vary the greatest is in the length and quality of the concluding editorial notes. Clive Brown's note to Der Freischütz, for example, devotes half of a page to the work in its historical context. And Julian Rushton provides even more for Idomeneo. Richard Osborne, on the other hand, provides a short paragraph of commentary on each of Il Barbiere di Siviglia and L'Italiana in Algeri. It could be argued, of course, that the respective sections providing background more than make up for the brief conclusions.
Laura Macy wrote the entries for the newly added works, each of which follows the established format. One of these relates to The Death of Klinghoffer by John Adams that merits some analysis. She makes it plain at the outset that "the story is told both in 'real time', with events unfolding on the ship, and in the witness accounts told after the fact." The synopsis differentiates between these two modes of storytelling, along with a description of the chorus that concludes each scene. In her closing remarks, she helpfully points out that Adams was influenced by Bach's Passions. Yet the choruses "disrupt the narrative; and their abstract themes have the unsettling effect of distancing the listener from the story." She rightly states that the "virulent anti-Semitism voiced by 'Rambo', and not clearly condemned by Adams, and the composer's general refusal to draw a clear good/evil dichotomy between the hijackers and their victims, has enraged many critics." She then concludes that Adams and his artistic collaborators "were prescient in 1989, in realizing that terrorism — its causes and its effects on the survivors — was a reality that Art would ultimately be forced to confront." Perhaps, but her observation that the choruses tend to "disrupt the narrative" is key to understanding this work. Traditionally, the opera chorus acted as interlocutor or commentator in the manner of Greek drama. Here, the chorus can be seen as representing the outside world — the public sphere in a Habermasian sense4 — where so far "no consensus has developed on how properly to define 'terrorism' generally," as a consequence of which the "dismal truth is that the international community has dealt with terrorism ambivalently and ineffectually."5 The choruses, then, confound the passing of unalloyed moral judgments upon the actions of the hijackers.
As the foregoing may suggest, the subject of opera is so vast that no single-volume work could possibly deal with it in a comprehensive manner. Having said that, The Grove Book of Operas, second edition, should be on every opera-lover's short list of indispensible reference books. Highly recommended.
1. Only the 27-volume (projected) Die Musik in Geschichte und Gegenhart, second edition (Kassel & New York: Bärenreiter; Stuttgart: Metzler, 1994 – ), rivals the New Grove in scope and scholastic quality.
3. A similar exercise is undertaken in the entry respecting the various iterations of Boris Godunov.
4. See, e.g., Jurgen Habermas, The Divided West (Cambridge, Oxford & Boston: Polity, 2006).
5. Tel-Oren v. Libyan Arab Republic, 726 F.2d 774, 807 (D.C. Cir. 1984) (Bork, J., concurring) (citations omitted).
6. Readers will have to wait for Levin's larger study, Unsettling Opera — Staging Mozart, Verdi, Wagner, and Zemlinsky, which is expected to be released by the University of Chicago Press in June 2007.


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