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nothingbutfangirlsmut · 4 years

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The Trials of Emi

Pairing: A little Minho. A sprinkle of Frypan. Gally x Emi(OC)

Summary: Emi, her twin brother Thomas, and a small group of gladers had been rescued and taken to a safe haven. Or so it seemed. It doesn't take long for Thomas to realize something is wrong. What happens next is a true trial for all of them but Emi's trials began the moment she was ripped away from a dying Gally. Watching someone you love die right before your eyes truly takes a toll.

Finally meeting the right arm could have been the end but betrayal leads to even more chaos and loss. A new mission to rescue those taken from them leads them to a city. The last city. After Emi finally comes to terms with everything that's happened something unfolds that changes everything again. She will have to not only deal with helping her brother take down WCKD and save their friend but also deal with all the new problems in her head and her heart.

Rating: As of right now it’s at most PG13. Some strong language that’s about it but it could change.

(This is the 2nd part/book to my other story "The Maze trials: A Gally Fanfiction". This will cover the events of the scorch trails and the death cure.)

Chapter Three

Everyone in the room was restless now. It'd only been maybe a half hour but all the boys were either sitting up or standing. Newt was pacing again. I was sitting on the edge of my bunk staring at the bunk Thomas and Aris had disappeared under.

A sudden loud crash and Thomas came scrambling into the room in a pure panic. I jumped to my feet along with everyone else.

"Thomas!" Fry shouted.

"We gotta go." Thomas said quickly as he moved to the closest bunk.

Some of the boys tried to speak but Thomas cut them all off.

"We gotta go. We gotta go now!" He shouted as he moved quickly and franticly.

"What the hell are you talking about?" Questioned Minho.

"They're coming! We gotta go!" Thomas shouted again as he began to strip one of the bunks.

My blood ran cold. Who is coming? Why does he look so scared. I noticed Aris for the first time standing close to a bunk. He looked terrified as well.

"They're coming for us." Thomas added as he finally pulled the bed sheets loose.

"What happened in there?" Fry asked panic rising in his voice.

Thomas didn't answer. He ran to the door. I watched as he started to tie the sheet around the handle of the door.

"Aris, what happened?" Winston asked the shaking boy.

"Thomas, can you just calm down and talk to us?" Newt asked his voice laced with worry.

Thomas moved from the door to something on the opposite wall and started tying the other end of the bed sheet to it.

"She's still alive." He said simply.

"Who is she? Teresa?" Fry asked trying to understand what the frantic boy was saying.

"Ava" Thomas corrected.

The name sounded familiar but I couldn't place it.

"Ava? Just turn around and talk to us." Newt said sounding exasperated.

"It's WCKD!" Thomas shouted turning around after tying the sheet.

He took a deep breath.

"It's still WCKD. It's always been WCKD." He said in a more calm voice.

Thomas moved back to the bunk he had stripped grabbing the mattress. He walked back over to the door placing the mattress against it.

"Thomas, what did you see?" Newt asked with such calm I thought he didn't hear what Thomas had just said.

"There's no time" Thomas said running back to the air duct.

"We have to go now!" He shouted then slipped under the bunk and disappeared.

One by one we followed Thomas and Aris. We crawled threw the small space as fast as we could. No words were said but I could feel everyone's sudden fear and panic rising. How can it still be WCKD?

Thomas stopped shoving open another metal cover. Slowly we all climbed out.

"Let's go!" Thomas ordered after checking the area.

"You guys go ahead. There's something I gotta do." Aris said in his twangy accent.

"What are you talking about?" Thomas questioned in disbelief.

"Trust me, it's important. You guys want to get out of here right?" Aris asked.

We all nodded.

"Just go!" He ordered.

"I'll go with him." Winston said quickly.

"Me too" I said suddenly.

I wasn't expecting myself to say that. Why did I want to go with him? All the boys froze for a moment staring at me.

"No, I'd rather you stay close to me." Thomas said sternly.

I took a deep breath then cleared my throat hoping to clear my voice of the scratchy odd sound.

"You have plenty of muscle. If something happens Aris might need me." I said simply.

They all stared at me some more. Thomas nodded but stepped over to me. He pulled me into him for a tight hug.

"Be careful" he whispered then let go.

Thomas, Newt, Minho, Fry, and Clint took off down the hall as Aris, Winston, and myself climbed back into the air shaft. We had been crawling for only a minute or two when we heard the alarm going off. Aris seemed to move faster.

"Aris, where are we going?" Winston asked.

"To get something we need" was all he said.

A few more minutes of crawling and he finally climbed out. Winston and I followed him. Aris checked the halls before saying it was clear. We ran down a long hall stopping at the corner. Aris slowly peaked around it.

"Shit" he breathed leaning back quickly.

Before Aris could say anything else I heard the sound of heavy boots walking quickly down the hall towards us. A moment later two guards turned the corner. I didn't hesitate.

I ducked spinning around with my leg out knocking them both off their feet. I stood up ripping one of the guns from a guard's hands. I used the butt end to hit him as hard as I could in the head. He was either unconscious or dead. Either one would be fine. The other had gotten back to his feet pointing his gun at me.

"Put it down!" He shouted.

I raised my hands as if to surrender. As he started to lower his gun I jumped lifting my leg up and kicking him in the chest. His gun flew out of his hand as I landed back on the ground. I cocked the gun in my hands then fired. The man fell to the ground convulsing under what looked like some kind of electric shock. Well that's a nifty little gun. I picked up the other one and tossed it to Winston. He almost dropped it due to his frozen shocked state. I nodded at Aris to lead the way.

We were once again running down a hall. Aris was leading us. I held the gun in my arms at the ready to fire if anymore guards showed up.

"It's right down here!" Aris whisper shouted.

We stopped at a heavy metal door. Aris pushed it open then froze mid step. Three more guards were standing on the other side now staring at us. The next second their guns were raised. I fired without warning making Aris duck. One man fell to the ground as I cocked the gun. A blast passed me hitting another man. Before the third could even put his finger on the trigger I fired at him. Once all three of them were convulsing on the ground we continued on.

We were now in a large open room that looked like a warehouse or store room. We kept running until I heard a blast that seconds later knocked me off my feet. This blast didn't electrocute me. Instead a sharp pain burned in my shoulder where I'd been hit making me drop my gun. I heard Winton fire his gun several times obviously missing his target. His gun clicked. He cursed under his breath then tossed it to the ground. I heard the footsteps of the man who had shot me. I pulled my hand from my shoulder to see it stained red.

The man stopped right in front of me. I growled then grabbed his legs pulling with all my might. He fell with a groan. I quickly moved to hover over him. I punched him repeatedly until he no longer moved. I felt hands pulling me back and up to my feet.

"Your shoulder" Aris said moving to look at it.

"I'm fine. We will deal with it later." I said hissing as he touched it.

Aris bent down to search the guard. He quickly pulled out a key card making him smile.

"It's right here" Aris said pointing behind me.

I turned to see a big heavy metal door. Aris stepped over to the key pad. As I stepped closer I could hear muffled voices on the other side. Aris swiped the card making a loud beeping sound then the door started to open. Our entire group plus Teresa turned to look at us in shock.

"Hey guys" Aris said with the faintest smile.

"Come on!" Fry shouted running into the room.

The rest followed quickly.

"Thomas! Come on let's go!" Newt shouted towards my brother who was a few feet away holding a gun towards Janson.

Thomas started to fire the gun as he stepped backwards. After a few shots it ran out just as Winston's had. The door started to close as Thomas ran towards it. We all shouted at him to hurry. He had to make it. At the last second Thomas dropped to the floor and slid threw the small opening. The door slammed closed right behind him. He jumped to his feet and hit the keypad instantly breaking it.

Janson and his guards hit the door. Janson peered threw the small glass window at us. We all backed up slowly before running off. I did however notice Thomas flip Janson off before running away.

"What happened to you?" Newt questioned as we ran.

"She got shot." Winston answered from my other side.

"Once we get somewhere safe I'll take a look." Clint said slightly out of breath.

We ran all the way threw the large room to the massive reinforced door we had come in. Thomas moved to the front quickly getting it open. We didn't waste anymore time as we took off running into the complete unknown.

—

#nothingbutfangirlsmut #fanfiction #gally #gally imagine #gally smut #gally x reader #the maze runner #the maze trials #tmr gally #original character #the trials of emi

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vintage-tech · 2 years

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I confirmed this cow cookie jar was made by Twin Winton.

#vintage #cookie jar #twin winton #technology #1960s

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silent-era-of-cinema · 4 years

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Jean Arthur (born Gladys Georgianna Greene; October 17, 1900 – June 19, 1991) was an American Broadway and film actress whose career began in silent films in the 1920s and lasted until the early 1950s.

Arthur had feature roles in three Frank Capra films: Mr. Deeds Goes to Town (1936), You Can't Take It with You (1938), and Mr. Smith Goes to Washington (1939), films that championed the "everyday heroine". Arthur was nominated for an Academy Award for Best Actress in 1944 for her performance in The More the Merrier (1943).

James Harvey wrote in his history of the romantic comedy: "No one was more closely identified with the screwball comedy than Jean Arthur. So much was she part of it, so much was her star personality defined by it, that the screwball style itself seems almost unimaginable without her." She has been called "the quintessential comedic leading lady". Her last film performance was non-comedic, playing the homesteader's wife in George Stevens's Shane in 1953.

Arthur was known as a reclusive woman. News magazine Life observed in a 1940 article: "Next to Garbo, Jean Arthur is Hollywood's reigning mystery woman." As well as recoiling from interviews, she avoided photographers and refused to become a part of any kind of publicity.

Arthur was born Gladys Georgianna Greene in Plattsburgh, New York, to Protestant parents, Johanna Augusta Nelson (1871–1959) and Hubert Sidney Greene (1863–1944).[7] Gladys' Lutheran maternal grandparents immigrated from Norway to the American West after the Civil War. Her Congregationalist paternal ancestors immigrated from England to Rhode Island in the second half of the 1600s. During the 1790s, Nathaniel Greene helped found the town of St. Albans, Vermont, where his great-grandson, Hubert Greene, was born on September 1, 1863.

Johanna and Hubert were married in Billings, Montana, on July 7, 1890. Gladys's three older brothers—Donald Hubert Greene (1890–1967), Robert Brazier Greene (1892–1955) and Albert Sidney Greene (1894–1926)[8]—were born in the West. Around 1897, Hubert moved his wife and three sons from Billings to Plattsburgh, so he could work as a photographer at the Woodward Studios on Clinton Street. Johanna gave birth to stillborn twins on April 1, 1898.

Two and a half years later, Johanna gave birth to Gladys Georgianna. The product of a nomadic childhood, the future Jean Arthur lived at times in Saranac Lake, New York; Jacksonville, Florida, where George Woodward, Hubert's Plattsburgh employer, opened a second studio; and Schenectady, New York, where Hubert had grown up and where several members of his family still lived. The Greenes lived on and off in Westbrook, Maine, from 1908 to 1915 while Gladys's father worked at Lamson Studios in Portland, Maine. Relocating in 1915 to New York City, the family settled in the Washington Heights neighborhood – at 573 West 159th Street – of upper Manhattan, and Hubert worked at Ira L. Hill's photographic studio on Fifth Avenue.

Gladys dropped out of high school in her junior year due to a "change in family circumstances". Presaging many of her later film roles, she worked as a stenographer on Bond Street in lower Manhattan during and after World War I. Both her father (at age 55, claiming to be 45) and siblings registered for the draft. Her brother Albert died in 1926 as a result of respiratory injuries suffered during a mustard gas attack during World War I.

Discovered by Fox Film Studios while she was doing commercial modeling in New York City in the early 1920s, the newly named Jean Arthur landed a one-year contract and debuted in the silent film Cameo Kirby (1923), directed by John Ford. She reputedly took her stage name from two of her greatest heroes, Joan of Arc (Jeanne d'Arc) and King Arthur.[citation needed] The studio was at the time looking for new American sweethearts with sufficient sex appeal to interest the Jazz Age audiences. Arthur was remodeled as such a personality, a flapper. Following the small role in Cameo Kirby, she received her first female lead role in The Temple of Venus (1923), a plotless tale about a group of dancing nymphs. Dissatisfied with her lack of acting talent, the film's director Henry Otto replaced Arthur with actress Mary Philbin during the third day of shooting. Arthur agreed with the director: "There wasn't a spark from within. I was acting like a mechanical doll personality. I thought I was disgraced for life." She was planning on leaving the California film industry for good, but reluctantly stayed due to her contract, and appeared in comedy shorts instead. Despite lacking the required talent, Arthur liked acting, which she perceived as an "outlet". To acquire some fame, she registered herself in the Los Angeles city directory as a photo player operator, as well as appearing in a promotional film for a new Encino nightclub, but to no avail.

Change came when one day she showed up at the lot of Action Pictures, which produced B westerns, and impressed its owner Lester F. Scott Jr., with her presence. He decided to take a chance on a complete unknown, and she was cast in over twenty westerns in a two-year period. Only receiving $25 a picture, Arthur suffered from difficult working conditions: "The films were generally shot on location, often in the desert near Los Angeles, under a scorching sun that caused throats to parch and make-up to run. Running water was nowhere to be found, and even outhouses were a luxury not always present. The extras on these films were often real cowboys, tough men who were used to roughing it and who had little use for those who were not." The films were moderately successful in second-rate Midwestern theaters, though Arthur received no official attention. Aside from appearing in films for Action Pictures between 1924 and 1926, she worked in some independent westerns, including The Drug Store Cowboy (1925), and westerns for Poverty Row, as well as having an uncredited bit part in Buster Keaton's Seven Chances (1925).

In 1927, Arthur attracted more attention when she appeared opposite Mae Busch and Charles Delaney as a gold digging chorus girl in Husband Hunters. Subsequently, she was romanced by actor Monty Banks in Horse Shoes (1927), both a commercial and critical success. She was cast on Banks's insistence, and received a salary of $700. Next, director Richard Wallace ignored Fox's wishes to cast a more experienced actress by assigning Arthur to the female lead in The Poor Nut (1927), a college comedy which gave her wide exposure to audiences. A reviewer for Variety did not spare the actress in his review: "With everyone in Hollywood bragging about the tremendous overflow of charming young women all battering upon the directorial doors leading to an appearance in pictures, it seems strange that from all these should have been selected two flat specimens such as Jean Arthur and Jane Winton. Neither of the girls has screen presence. Even under the kindliest treatment from the camera they are far from attractive and in one or two side shots almost impossible." Fed up with the direction that her career was taking, Arthur expressed her desire for a big break in an interview at the time. She was skeptical when signed to a small role in Warming Up (1928), a film produced for a big studio, Famous Players-Lasky, and featuring major star Richard Dix. Promoted as the studio's first sound film, it received wide media attention, and Arthur earned praise for her portrayal of a club owner's daughter. Variety opined, "Dix and Arthur are splendid in spite of the wretched material", while Screenland wrote that Arthur "is one of the most charming young kissees who ever officiated in a Dix film. Jean is winsome; she neither looks nor acts like the regular movie heroine. She's a nice girl – but she has her moments." The success of Warming Up resulted in Arthur being signed to a three-year contract with the studio, soon to be known as Paramount Pictures, at $150 a week.

With the rise of the talkies in the late 1920s, Arthur was among the many silent screen actors of Paramount Pictures initially unwilling to adapt to sound films. Upon realizing that the craze for sound films was not a phase, she met with sound coach Roy Pomeroy. It was her distinctive, throaty voice – in addition to some stage training on Broadway in the early 1930s – that eventually helped make her a star in the talkies. However, it initially prevented directors from casting her in films.[19] In her early talkies, this "throaty" voice is still missing, and it remains unclear whether it has not yet emerged or whether she hid it. Her all-talking film debut was The Canary Murder Case (1929), in which she co-starred opposite William Powell and Louise Brooks. Arthur impressed only a few with the film and later claimed that at the time she was a "very poor actress ... awfully anxious to improve, but ... inexperienced so far as genuine training was concerned."

In the early years of talking pictures, Paramount was known for contracting Broadway actors with experienced vocals and impressive background references. Arthur was not among these actors, and she struggled for recognition in the film industry. Her personal involvement with rising Paramount executive David O. Selznick – despite his relationship with Irene Mayer Selznick – proved substantial; she was put on the map and became selected as one of the WAMPAS Baby Stars in 1929. Following a silent B-western called Stairs of Sand (1929), she received some positive notices when she played the female lead in the lavish production of The Mysterious Dr. Fu Manchu (1929). Arthur was given more publicity assignments, which she carried out, even though she immensely disliked posing for photographers and giving interviews.

Through Selznick, Arthur received her "best role to date" opposite famous sex symbol Clara Bow in the early sound film The Saturday Night Kid (1929). Of the two female leads, Arthur was thought to have "the better part," and director Edward Sutherland claimed that "Arthur was so good that we had to cut and cut to keep her from stealing the picture" from Bow. While some argued that Bow resented Arthur for having the "better part," Bow encouraged Arthur to make the most of the production. Arthur later praised her working experience with Bow: "[Bow] was so generous, no snootiness or anything. She was wonderful to me." The film was a moderate success, and The New York Times wrote that the film would have been "merely commonplace, were it not for Jean Arthur, who plays the catty sister with a great deal of skill."

Following a role in Halfway to Heaven (1929) opposite popular actor Charles "Buddy" Rogers (of which Variety opined that her career could be heading somewhere if she acquired more sex appeal), Selznick assigned her to play William Powell's wife in Street of Chance (1930). She did not impress the film's director John Cromwell, who advised the actress to move back to New York because she would not make it in Hollywood. By 1930, her relationship with Selznick had ended, causing her career at Paramount to slip. Following a string of "lifeless ingenue roles" in mediocre films, she debuted on stage in December 1930 with a supporting role in Pasadena Playhouse's ten-day run production of Spring Song. Back in Hollywood, Arthur saw her career deteriorating, and she dyed her hair blonde in an attempt to boost her image and avoid comparison with more successful actress Mary Brian. Her effort did not pay off: when her three-year contract at Paramount expired in mid-1931, she was given her release with an announcement from Paramount that the decision was due to financial setbacks caused by the Great Depression.

In late 1931, Arthur returned to New York City, where a Broadway agent cast Arthur in an adaptation of Lysistrata, which opened at the Riviera Theater on January 24, 1932. A few months later, she made her Broadway debut in Foreign Affairs opposite Dorothy Gish and Osgood Perkins. Even though the play did not fare well and closed after twenty-three performances, critics were impressed by her work on stage. She next won the female lead in The Man Who Reclaimed His Head, which opened on September 8, 1932, at the Broadhurst Theatre to mostly mixed notices for Arthur, and negative reviews for the play caused the production to be halted quickly. Arthur returned to California for the holidays, and appeared in the RKO film The Past of Mary Holmes (1933), her first film in two years.

Back on Broadway, Arthur continued to appear in small plays that received little attention. Critics, however, continued to praise her in their reviews. It has been argued that in this period, Arthur developed confidence in her acting craft for the first time. On the contrast between films in Hollywood and plays in New York, Arthur commented:

I don't think Hollywood is the place to be yourself. The individual ought to find herself before coming to Hollywood. On the stage I found myself to be in a different world. The individual counted. The director encouraged me and I learned how to be myself.... I learned to face audiences and to forget them. To see the footlights and not to see them; to gauge the reactions of hundreds of people, and yet to throw myself so completely into a role that I was oblivious to their reaction.

The Curtain Rises, which ran from October to December 1933, was Arthur's first Broadway play in which she was the center of attention. With an improved résumé, she returned to Hollywood in late 1933, and turned down several contract offers until she was asked to meet with an executive from Columbia Pictures. Arthur agreed to star in a film, Whirlpool (1934), and during production she was offered a long-term contract that promised financial stability for both her and her parents. Even though hesitant to give up her stage career, Arthur signed the five-year contract on February 14, 1934.

In 1935, at age 34, Arthur starred opposite Edward G. Robinson in the gangster farce The Whole Town's Talking, also directed by Ford, and her popularity began to rise. It was the first time Arthur portrayed a hard-boiled working girl with a heart of gold, the type of role she would be associated with for the rest of her career. She enjoyed the acting experience and working opposite Robinson, who remarked in his biography that it was a "delight to work with and know" Arthur. By the time of the film's release, her hair, naturally brunette throughout the silent film portion of her career, was bleached blonde and would mostly stay that way. She was known for maneuvering to be photographed and filmed almost exclusively from the left; Arthur felt that her left was her best side, and worked hard to keep it in the fore. Director Frank Capra recalled producer Harry Cohn's description of Jean Arthur's imbalanced profile: "half of it's angel, and the other half horse." Her next few films, Party Wire (1935), Public Hero No. 1 (1935) and If You Could Only Cook (1935), did not match the success of The Whole Town's Talking, but they all brought the actress positive reviews. In his review for The New York Times, critic Andre Sennwald praised Arthur's performance in Public Hero No. 1, writing that she "is as refreshing a change from the routine it-girl as Joseph Calleia is in his own department." Another critic wrote of her performance in If You Could Only Cook that "[she is] outstanding as she effortlessly slips from charming comedienne to beautiful romantic." With her now apparent rise to fame, Arthur was able to extract several contractual concessions from Harry Cohn, such as script and director approval and the right to make films for other studios.

The turning point in Arthur's career came when she was chosen by Frank Capra to star in Mr. Deeds Goes to Town. Capra had spotted her in a daily rush from the film Whirlpool in 1934 and convinced Cohn to have Columbia Studios sign her for his next film as a tough newspaperwoman who falls in love with a country bumpkin millionaire. Even though several colleagues later recalled that Arthur was troubled by extreme stage fright during production, Mr. Deeds was critically acclaimed and propelled her to international stardom. In 1936 alone, she earned $119,000, more than the President of the United States and baseball player Lou Gehrig. With fame also came media attention, something Arthur greatly disliked. She did not attend any social gatherings, such as formal parties in Hollywood, and acted difficult when having to work with an interviewer. She was named the American Greta Garbo – who was also known for her reclusive life – and magazine Movie Classic wrote of her in 1937: "With Garbo talking right out loud in interviews, receiving the press and even welcoming an occasional chance to say her say in the public prints, the palm for elusiveness among screen stars now goes to Jean Arthur."

Arthur's next film was The Ex-Mrs. Bradford (1936), on loan to RKO Pictures, in which she starred opposite William Powell on his insistence, and hoped to take a long vacation afterwards. Cohn, however, rushed her into two more productions, Adventure in Manhattan (1936) and More Than a Secretary (1936). Neither film attracted much attention.[44] Next, again without pause, she was re-teamed with Cooper, playing Calamity Jane in Cecil B. DeMille's The Plainsman (1936) on another loan, this time for Paramount Pictures. Arthur, who was De Mille's second choice after Mae West, described Calamity Jane as her favorite role thus far. Afterwards, she appeared as a working girl, her typical role, in Mitchell Leisen's screwball comedy, Easy Living (1937), with Ray Milland. She followed this with another screwball comedy, Capra's You Can't Take It with You, which teamed her with James Stewart. The film won an Academy Award for Best Picture with Arthur getting top billing.

So strong was her box office appeal by now that she was one of four finalists for the role of Scarlett O'Hara in Gone with the Wind (1939). The film's producer, David O. Selznick, had briefly romanced Arthur in the late 1920s when they both were with Paramount Pictures. Arthur re-united with director Frank Capra and Stewart for Mr. Smith Goes to Washington (1939), with Arthur cast once again as a working woman, this time one who teaches the naive Mr. Smith the ways of Washington, D.C.

Arthur continued to star in films such as Howard Hawks's Only Angels Have Wings (also 1939), with love interest Cary Grant, The Talk of the Town (1942), directed by George Stevens (with Cary Grant and Ronald Colman, working together for the only time, as Arthur's two leading men), and again for Stevens as a government clerk in The More the Merrier (1943), for which Arthur was nominated for the Academy Award for Best Actress (losing to Jennifer Jones for The Song of Bernadette). As a result of being in dispute with studio boss Harry Cohn, her fee for The Talk of the Town (1942) was only $50,000, while her male co-stars Grant and Colman received upwards of $100,000 each. Arthur remained Columbia's top star until the mid-1940s, when she left the studio, and Rita Hayworth took over as the studio's biggest name. Stevens famously called her "one of the greatest comediennes the screen has ever seen," while Capra credited her as "my favorite actress."

Arthur retired when her contract with Columbia Pictures expired in 1944. She reportedly ran through the studio's streets, shouting "I'm free, I'm free!"[46] For the next several years, she turned down virtually all film offers, the two exceptions being Billy Wilder's A Foreign Affair (1948), in which she played a congresswoman and rival of Marlene Dietrich, and as a homesteader's wife in the classic Western Shane (1953), which turned out to be the biggest box-office hit of her career. The latter was her final film, and the only color film in which she appeared.

Arthur's post-retirement work in theater was intermittent, somewhat curtailed by her unease and discomfort about working in public. Capra claimed she vomited in her dressing room between scenes, yet emerged each time to perform a flawless take. According to John Oller's biography, Jean Arthur: The Actress Nobody Knew (1997), Arthur developed a kind of stage fright punctuated with bouts of psychosomatic illnesses. A prime example was in 1945, when she was cast in the lead of the Garson Kanin play, Born Yesterday. Her nerves and insecurity got the better of her and she left the production before it reached Broadway, opening the door for a then-unknown Judy Holliday to take the part.

She did score a major triumph on Broadway in 1950, starring in Leonard Bernstein's adaptation of Peter Pan, playing the title character, when she was almost 50. She tackled the role of her eponym, Joan of Arc, in a 1954 stage production of George Bernard Shaw's Saint Joan, but she left the play after a nervous breakdown and battles with director Harold Clurman.

After Shane and the Broadway play Joan of Arc, Arthur went into retirement for 12 years. In 1965, she returned to show business in an episode of Gunsmoke. In 1966, the extremely reclusive Arthur took on the role of Patricia Marshall, an attorney, on her own television sitcom, The Jean Arthur Show, which was canceled mid-season by CBS after only 12 episodes. Ron Harper played her son, attorney Paul Marshall.

In 1967, Arthur was coaxed back to Broadway to appear as a midwestern spinster who falls in with a group of hippies in the play The Freaking Out of Stephanie Blake. In his book The Season, William Goldman reconstructed the disastrous production, which eventually closed during previews when Arthur refused to go on.

Arthur next decided to teach drama, first at Vassar College and then the North Carolina School of the Arts. While teaching at Vassar, she stopped a rather stridently overacted scene performance and directed the students' attention to a large tree growing outside the window of the performance space, advising the students on the art of naturalistic acting: "I wish people knew how to be people as well as that tree knows how to be a tree."

Her students at Vassar included the young Meryl Streep. Arthur recognized Streep's talent and potential very early on and after watching her performance in a Vassar play, Arthur said it was "like watching a movie star."

While living in North Carolina, in 1973, Arthur made front-page news by being arrested and jailed for trespassing on a neighbor's property to console a dog she felt was being mistreated. An animal lover her entire life, Arthur said she trusted them more than people. She was convicted, fined $75 and given three years' probation.

Arthur turned down the role of the female missionary in Lost Horizon (1973), the unsuccessful musical remake of the 1937 Frank Capra film of the same name. Then, in 1975, the Broadway play First Monday in October, about the first woman to be a Supreme Court justice, was written especially with Arthur in mind, but once again she succumbed to extreme stage fright, and quit the production shortly into its out-of-town run after leaving the Cleveland Play House. The play went on with Jane Alexander playing the role intended for Arthur.

After the First Monday in October incident, Arthur then retired for good, retreating to her oceanside home in Carmel, California, steadfastly refusing interviews until her resistance was broken down by the author of a book about Capra. Arthur once famously said that she would rather have her throat slit than do an interview.

Arthur was a Democrat and supported the campaign of Adlai Stevenson during the 1952 presidential election.

Arthur died from heart failure June 19, 1991, at the age of 90. No funeral service was held. She was cremated, and her remains were scattered off the coast of Point Lobos, California.

Upon her death, film reviewer Charles Champlin wrote the following in the Los Angeles Times:

To at least one teenager in a small town (though I'm sure we were a multitude), Jean Arthur suggested strongly that the ideal woman could be – ought to be – judged by her spirit as well as her beauty … The notion of the woman as a friend and confidante, as well as someone you courted and were nuts about, someone whose true beauty was internal rather than external, became a full-blown possibility as we watched Jean Arthur.

For her contribution to the motion picture industry, Jean Arthur has a star on the Hollywood Walk of Fame at 6333 Hollywood Blvd. The Jean Arthur Atrium was her gift to the Monterey Institute of International Studies in Monterey, California.

On May 2, 2015, the city of Plattsburgh, New York, honored her with a plaque in front of the house where she was born (94 Oak Street).

On October 9, 2019, Plattsburgh unveiled a large commissioned mural of the actress by artist Brendon Palmer-Angell on a wall behind the bank building at 30 Brinkerhoff Street.

As of 2019, the Adirondacks Welcome Center near Exit 18 on the northbound lanes of the Northway (I-87) in Queensbury, New York, featured a ground plaque of Jean Arthur, among other famous persons connected to the Adirondacks region, as part of the Adirondacks Walk of Fame, similar in style to the Hollywood Walk of Fame in Los Angeles.

#jean arthur #silent era #silent hollywood #silent movie stars #golden age of hollywood #classic movie stars #classic hollywood #1920s hollywood #1930s hollywood #1940s hollywood #1950s hollywood #1960s hollywood #movie legends

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cbssurfer · 4 years

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The turn by Glen Winton. Twin shaped by Bill Cilia.

#surf #surfer #surf life #surfing #surf paradise

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baynton · 10 months

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2023 CHARACTER WRAP

share your top nine characters of this year

tagged by @matbaynton - sorry bestie didn't realise you'd tagged me until i was insulted i wasn't tagged when i saw emma do it. then checked my notifs and saw i was after all 😌

most will be mats. there are some non mats though!

1. chris pitt-goddard

he is just soooooo perfect. my beloved<3

2. joe starling

BEST BOY!!!!! BABY BABY BABY BABY BABY i love him sosososo much he's such a cringefail loser flop man and he's sooo beautiful and i love him dearly

3. ariel conroy + jamie winton

ariel is soooo insane and i love him!!! he's awful and terrible and perfect all at once. ough baby

and ariel's lovely lovely twin!!! like emma said u can't have one twin without the other, they're a duo. a package deal. they're also fucking 😌 real dirty 😌

4. sam pinkett

i need to knock him up. next

5. thomas thorne

the mat thru which i was introduced to mat (although i watched horrible histories when it first aired, so... reintroduced?) anyway he's perfect and i love him

6. william agar

precious little baby. adorable. perfect. not given enough love. sweet little thing. im kissing him always. also his arse 💯💯💯💯💯

7. ollie plimsolls

there is one person to blame for this. because of you, i think about him very often. and dream up scenarios involving him. and watch his scenes a lot. thanks heather xoxoxoxo

8. zagreus hadesgame

played a lot of hades again this year. his snark and his genuine loveliness make me soooo

9. edelgard von hresvelg

i looooooove her oh my goooooooood babygiiiiirl i loooooove youuuu. best part of playing black eagles is when rhea is like "kill her!!1!!" and byleth is like "no 💖"

tagging: @the-20th-century-girl @kore538 @sonnet-of-anarchy @captains-clever-goose @caps-clever-girl and idk anyone else who wants to do it x

#tag game #this was fun!!!

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ladynan27 · 4 years

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Nancy's Data Academy Blog

Data Sciences Academy: Data Management & Visualization

Course Data Set Used: GapMinder

Variables to be studied:

· Employment & Alcohol Consumption

· Income & Alcohol Consumption

Questions to be asked:

· Is there a relationship between Employment & Alcohol Consumption?

· Is there a relationship between Income Level & Alcohol Consumption?

Hypothesis: (Scan down to bottom)

Research:

Employment & Alcohol Consumption

1. Although most of these authors acknowledge the possibility of reverse causality (i.e., unemployment affecting alcohol use), few have rigorously examined the issue. Most early studies on this topic find that alcohol use decreases when the unemployment rate increases. Brenner (1979) uses aggregate data to show that, in the long term, alcohol consumption per capita increases with personal income even though, in the short term, alcohol use increases shortly after recessions. Ruhm (1995), using fixed-effects estimation with state-level panel data from 1975 to 1988, finds that per-capita alcohol consumption is pro-cyclical. He argues that the income effect offsets any increases in alcohol use that may be caused by the emotional stress of experiencing financial difficulties.

2. Numerous studies have been conducted in different countries which have focused on relationship between job loss and use of alcohol at an individual level. The findings have not been consistent and each of the following conclusions have been supported: (1) unemployment increases alcohol use and abuse; (2) unemployment reduces alcohol use and abuse; (3) unemployment does not alter drinking behavior. The fourth finding is that unemployment has all the above listed consequences, i.e., some drink more, some drink less, and some individuals do not alter their drinking habits following job loss (Crawford et al. 1987; see also Hammer 1992; Janlert & Hammarstrom 1992; Warr 1987). The contradictory results obtained in both longitudinal and cross-sectional studies may be due to various factors. The target populations and the selection of variables differ from one study to another. There may also be various mediating factors which affect the relationship between unemployment and drinking habits. It is plausible that under particular conditions some individuals increase alcohol use following job loss, but this is not the general pattern (Lahelma 1993). The conclusion which has received strongest support in existing studies is that unemployment increases alcohol use and abuse among heavy drinkers (Crawford et al. 1987; Dooley et al. 1992; Lahelma 1993; Winton 1986). Since several studies have shown that unemployment may increase as well as decrease alcohol use, it has been suggested that moderate drinkers and heavy drinkers may respond differently to job loss. The former may decrease and the latter increase their alcohol consumption (Crawford et al. 1987; Janlert & Hammarstrom 1992).

3. August 15, 2012 Source Alcoholism: Clinical & Experimental Research

Summary: Many studies have found that problem drinking is related to subsequent

unemployment; However, the reverse association is unclear. Some studies have found that unemployment can increase total drinking, alcohol disorders, and/or problem drinking while others have found that unemployment can decrease drinking or have no effect at all. An analysis of binge drinking as either a predictor or outcome of unemployment has found that binge drinking among women seems to have a significant association with long-term unemployment.

4. The effects of unemployment on health behaviors, and substance use in particular, is still unclear despite substantial existing research. This study aimed to assess the effects of individual and spousal unemployment on smoking and alcohol consumption. The study was based on eight waves of geocoded Framingham Heart Study Offspring Cohort data (US) from 1971-2008 that contained social network information. We fit three series of models to assess whether lagged 1) unemployment, and 2) spousal unemployment predicted odds of being a current smoker or drinks consumed per week, adjusting for a range of socioeconomic and demographic covariates. Compared with employment, unemployment was associated with nearly twice the subsequent odds of smoking, and with increased cigarette consumption among male, but not female, smokers. In contrast, unemployment predicted a one drink reduction in weekly alcohol consumption, though effects varied according to intensity of consumption, and appeared stronger among women. While spousal unemployment had no effect on substance use behaviors among men, wives responded to husbands' unemployment by reducing their alcohol consumption. We conclude that individual, and among women, spousal unemployment predicted changes in substance use behaviors, and that the direction of the change was substance-dependent. Complex interactions among employment status, sex, and intensity and type of consumption appear to be at play and should be investigated further.

Published in final edited form as: Soc Sci Med. 2014 June ; 110: 89–95. doi:10.1016/j.socscimed.2014.03.034.

5. This article investigates the association between alcohol consumption and labor market outcomes in Russia, using data from the Russian Longitudinal Monitoring Survey (RLMS). It estimates cross-sectional and fixed effects models of the impacts of alcohol consumption on employment and wages for males and females using three different measures of drinking. The cross-sectional findings indicate that alcohol consumption has an inverse U-shaped impact on employment and wages for females. The impact on males appears to be positive but the inverse-U shape is less pronounced. Once the unobserved individual heterogeneity is accounted for using fixed effects, alcohol consumption is found to have no significant effect on employment for either males or females. The fixed effect wage models indicate that alcohol consumption has a small, positive, but linear impact on the wage rate for both males and females. Models including fixed effects generate estimates that are smaller in magnitude compared with those of cross-sectional models. The findings are robust to several diagnostic checks. Southern Economic Journal Vol. 71, No. 2 (Oct., 2004), pp. 397-417 (21 pages) Published By: Southern Economic Association

Income & Alcohol Consumption

1. A person’s income level may influence how much they drink, a new study suggests. The study found people with lower incomes had more variation in how much they drank, compared with people with higher incomes .It appears that the low-income group includes more light drinkers and non-drinkers, as well as more heavy drinkers, than the high-income group. People with higher incomes, in contrast, are more likely to drink overall, but they are also more likely to moderate how much alcohol they consume, according to NPR. The study found genetics play a bigger role in the drinking habits of people with low incomes, while environmental factors were more influential for people who earn higher salaries. The researchers say people in higher-income communities may have more uniform family norms about drinking. The findings appear in Alcoholism: Clinical and Experimental Research. The study included 672 pairs of adult twins. They were interviewed twice, 10 years apart. Some of the twins were identical (their genetic material is the same), while others were fraternal (their genetic connection is the same as siblings born at separate times). Each pair shared the same environment growing up. The researchers say their finding that genetics play a bigger role in the drinking habits of people with low income suggests the stresses of being poor could trigger genetic vulnerabilities for alcohol use. “Our study’s key finding is that genetic and environmental effects on the amount of alcohol use are not constant across all individuals in the population, but instead vary by the socioeconomic context,” lead researcher Nayla Hamdi of the University of Minnesota said in a news release. She added the findings suggest “genes and environments do not influence alcohol use in isolation but rather in interaction with one another.” Partnership to End Addiction, By Partnership Staff March 2015

2. Lifetime patterns of income may be an important driver of alcohol use. In this study, we evaluated the relationship between long-term and short-term measures of income and the relative odds of abstaining, drinking lightly-moderately and drinking heavily. We used data from the US Panel Study on Income Dynamics (PSID), a national population-based cohort that has been followed annually or biannually since 1968. We examined 3111 adult respondents aged 30-44 in 1997. Latent class growth mixture models with a censored normal distribution were used to estimate income trajectories followed by the respondent families from 1968-1997, while repeated measures multinomial generalized logit models estimated the odds of abstinence (no drinks per day) or heavy drinking (at least 3 drinks a day), relative to light/moderate drinking (<1-2 drinks a day), in 1999-2003. Lower income was associated with higher odds of abstinence and of heavy drinking, relative to light/moderate drinking. For example, belonging to a household with stable low income ($11-20,000) over 30 years was associated with 1.57 odds of abstinence, and 2.14 odds of heavy drinking in adulthood. The association between lifetime income patterns and alcohol use decreased in magnitude and became non-significant once we controlled for past-year income, education and occupation. Lifetime income patterns may have an indirect association with alcohol use, mediated through current socioeconomic conditions. Soc Sci Med. 2011 Oct; 73(8): 1178–1185. Published online 2011 Aug 26. doi: 10.1016/j.socscimed.2011.07.025

3. Taken together, the findings discussed in this review suggest that although individuals with higher SES may consume similar or greater amounts of alcohol compared with individuals with lower SES, the latter group seems to bear a disproportionate burden of negative alcohol-related consequences. Future studies—particularly rigorous meta-analyses—are needed to more fully explore the mechanisms underlying these relationships. This research can contribute to data gathered in the context of larger public health efforts, including the Healthy People 2020 Initiative, which seeks to assess health disparities in the U.S. population by tracking rates of death, chronic and acute conditions, and health-related behaviors for various marginalized subpopulations (U.S. Department of Health and Human Services 2010). This knowledge should be applied toward the development of multilevel interventions that address not only individual-level risks but also economic disparities at higher levels that have precipitated and maintained a disproportionate level of negative alcohol-related consequences among more marginalized and vulnerable populations. Such interventions would fit well in the context of larger public health efforts (e.g., Affordable Care Act; HHS Action Plan to Reduce Racial and Ethnic Health Disparities) that are aiming to increase access to health care among people with low SES, create more preventative health programs, and improve quality of care for people seeking health care services in lower-SES areas (U.S. Department of Health and Human Services 2010, 2011).

4. Professionals and people on higher incomes drink alcohol more frequently than those in routine and manual jobs in the UK, according to figures that have been seized upon by both advocates and critics of Scotland’s new minimum unit price for alcohol. An annual survey by the Office for National Statistics found that around seven in 10 people working in managerial and professional jobs — including doctors, lawyers, nurses and teachers — said they had drunk alcohol in the week before an interview. The proportion was only five in 10 from a group that included jobs such as labourers, lorry drivers and receptionists. The share of adults who had had alcohol in the past week increased steadily with income, from less than 50 per cent of the lowest earners to almost 80 per cent of those earning £40,000 or more. Delphine Strauss in London, MAY 1 2018

5. PRINCETON, N.J. -- Upper-income and highly educated Americans are more likely than other Americans to say they drink alcohol. Whereas eight in 10 adults in these socio-economic status groups say they drink, only about half of lower-income Americans and those with a high school diploma or less say they drink. The results are based on Gallup's annual Consumption Habits poll, conducted July 8-12. Overall, 64% of Americans say they drink alcohol, consistent with Gallup's historical trend. Gallup has consistently found large differences in alcohol consumption among education and income subgroups over time. The income and education differences in drinking are typically larger than those seen by gender, age, race, region and religion. Americans of higher socio-economic status certainly have greater economic resources, and can likely afford to buy alcohol when they want to drink. But they also are more likely to participate in activities that may involve drinking such as dining out at restaurants, going on vacation or socializing with coworkers (given the higher drinking rates among working compared with nonworking Americans). The direct connection between drinking and engaging in these activities is not clear from the data, but such a connection could help explain why upper-income Americans are more likely to drink alcohol than other Americans. While not as powerful a predictor as income and education, religiosity is also strongly related to alcohol consumption. Specifically, 47% of those in the current poll who attend church weekly say they drink alcohol, compared with 69% who attend church less often than that, if at all. There are also notable differences in drinking by gender, with men (69%) more likely to report drinking alcohol than women (59%). Racial differences are also apparent in that non-Hispanic whites (69%) are significantly more likely to say they drink alcohol than nonwhites (52%). Among age groups, drinking is most common among 30- to 49-year-olds. Detailed percentages by subgroup appear at the bottom of the article. WELL-BEING JULY 27, 2015 Drinking Highest Among Educated, Upper-Income Americans BY JEFFREY M. JONES

Hypothesis: If a person’s income level increases, then the quality and frequency of their alcohol consumption also increases

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