So you still don't have dramatic license to explore stories that border on minority groups.
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That could have been more effective, and the company would not have had to take such dramatic license.
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The movie is based on a true story, but critics said the movie takes "dramatic license" with this portrayal.
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Yet even allowing for dramatic license, "Snowden" is hagiography, devoid of nuance, unleavened by criticism, missing even a believable character arc.
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It is not unusual for dramatic license to be taken when a writer or director is creating a narrative based on actual events.
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If he was in the room, did he record audio and nail exact quotes, or use some combination of notes, memory, and dramatic license?
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The Atlanta Journal-Constitution sent a legal threat to the filmmakers on Monday asking them to include a disclaimer noting that the film took dramatic license.
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Woodward sometimes stitches together data from diverse sources to create a narrative complete with recreated dialogue and, in my experience, sometimes lets dramatic license get ahead of him.
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Inside Jaws is a fun and engaging listen, but it's more like the films that are heavily inspired by, but which is free to take a bit more dramatic license.
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Movies based on historical events often employ dramatic license, which is an accepted practice, but can pay a price if those flourishes are deemed to have significantly distorted the central message.
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" Miles's wife, Mollie (Caitriona Balfe), and son, Peter (Noah Jupe), are portrayed as frequent presences at the racetrack, but Agapiou said that was another bit of dramatic license: "They weren't around very much at all.
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Dramatic license, perhaps, and yet not dramatic enough; the production, directed by the Huntington's artistic director, Peter DuBois, alternates too mechanically between whipping the same questionable points into crises and a sort of reactionary idleness.
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First, it is set in seventeenth-century Salem, Massachusetts, and Miller took some pains to use language that would have been appropriate to the period (while still taking dramatic license with the actual events and characters).
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It is an unfortunate irony that the makers of a film dedicated to the pursuit of truth took dramatic license with Mr. Sulzberger, who died in 2012, in their worthy elevation of Ms. Graham, who died in 2001.
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But even in the most realistic demos, everything has been repeatedly rehearsed and optimized to show exactly what a company wants you to see, taking dramatic license as needed and fudging things so the demonstration is smooth, efficient, and timely.
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The Atlanta Journal-Constitution newspaper, which employed Scruggs before her death in 2001, accused the film of taking "dramatic license," maintaining that there was no evidence of an affair between Scruggs and an FBI source, reported Brent Lang for Variety.
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The Citizen Kane-themed clip features the kind of blown-out, high-contrast imagery the director would later employ to depict Michael Douglas's boyhood flashbacks in The Game—as well as some dramatic license: "It's boring to be completely autobiographical," Madonna balked to Cosmopolitan.
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Artistic license (alongside more contextually specific derivative terms such as poetic license, historical license, dramatic license, narrative license, and creative license) refers to deviation from fact or form for artistic purposes. It can include alteration of the conventions of grammar or language, or the rewording of pre-existing text.
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He used considerable dramatic license in the adaption, to the point Makbul Mubarak of The Jakarta Post commented that he seemed to have only used the opening and closing of the source material. The film was Indonesia's submission to the 84th Academy Awards, but it did not make the final shortlist. , Saputra has directed 10 films.
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" Both Kitsis and Horowitz are self-described big fans of Big Love, and wrote the part of Snow White with Goodwin in mind. Joshua Dallas, who plays Prince Charming, was pleased the writers took "some dramatic license" with his character, believing the prince had become more real. He explained, "Prince Charming just happens to be a name. He's still a man with the same emotions as any other man.
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Some of the dialogue was taken from words written, often years or even decades later, by the actual people involved, and rearranged for dramatic effect.Stone and Edwards, pp. 153–65, describing the play's historical basis and dramatic license. The central departure from history is that the separation from Great Britain was accomplished in two steps: the actual vote for independence came on July 2 with the approval of Lee's resolution of independence.
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The two were captive for one year and then traded to the Mohave people. While Lorenzo exhaustively attempted to recruit governmental help in searching for them, Mary Ann died from starvation and Olive spent four years with the Mohave. Five years after the attack, she was repatriated into American society. The story of the Oatman Massacre began to be retold with dramatic license in the press, as well as in her own memoir and speeches.
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Later, Stefan forges a royal proclamation declaring himself as the late monarch's chosen successor. Maleficent's encounter with the infant Princess Aurora in the forest also differs from the one in the film, since Aurora does feel afraid of Maleficent after she frightens her away. Some of these ideas had originally been filmed, but were either cut or altered during post-production, while others may have been dramatic license on the part of the author.
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Both the film and the play take dramatic license with the on-air and behind-the-scene details of the Nixon interviews. Jonathan Aitken, one of Nixon's official biographers who spent much time with the former president at La Casa Pacifica, rebukes the film for its portrayal of a drunken Nixon making a late-night phone call as never having happened. Ron Howard discussed the scene on his feature commentary for the DVD release, pointing out it was a deliberate act of dramatic license, and while Frost never received such a phone call, "it was known that Richard Nixon, during ...the Watergate scandal, had occasionally made midnight phone calls that he couldn't very well recall the following day." Elizabeth Drew of the Huffington Post and author of Richard M. Nixon (2007) noted some inaccuracies, including a misrepresentation of the end of the interviews, the failure to mention the fact that Nixon received 20% of the profits from the interviews, and what she says are inaccurate representations of some of the characters.
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In 1974, the 1954 book was adapted for a TV movie starring Martin Sheen, also called The Execution of Private Slovik. Some dramatic license occurs, including during the execution. There is no evidence, for example, that the priest attending Slovik's execution shouted "Give it another volley if you like it so much" after the doctor indicated Slovik was still alive. The 1963 war film The Victors includes a scene featuring the execution of a deserter that closely resembles Slovik's desertion and execution.
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My Six Convicts is the true story of a prison psychologist (John Beal) and his attempts to get through to his incarcerated patients. While dealing with serious issues, the film was created in comedic form. While the film is true to the overall spirit of the book, dramatic license was taken with the adaptation and certain events (e.g., the failed prison break and the resulting death of an innocent inmate) are fictional and were created solely to add dramatic elements to the film.
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It is the second docudrama made about the crisis, the first being 1974's The Missiles of October, which was based on Kennedy's book. The 2000 film contains some newly declassified information not available to the earlier production, but takes greater dramatic license, particularly in its choice of O'Donnell as protagonist. It received generally positive reviews from critics who praised the screenplay and performances of the cast but was a box office bomb grossing $66.6 million against its $80 million budget.
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The BBC's The Monocled Mutineer (1986), from scripts by Alan Bleasdale had a more mixed reception. Although O'Brien's skill as a director gained positive attention, the BBC's billing of the four-part serial's billing as a "true-life story" antagonised conservative critics as, although essentially factually based, it contains dramatic license. The Daily Mail labelled it “a tissue of lies”. The feature film The Dressmaker (1988) is based on novel by Beryl Bainbridge and set in Liverpool during the second world war.
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Dramatic license allows for some historical inaccuracies in the film. One scene shows first the US Army around- the-world flight and then the US Navy winning the Schneider Cup. In fact the US Navy won the Schneider Cup in 1923 and the US Army embarked on the first aerial circumnavigation from March to September 1924. Another scene shows a newsreel related to the sinking of the aircraft carrier USS Hornet (CV-8), suggesting that she had been doomed by the hit of three kamikaze suicide planes.
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"Coe, Richard L. (January 27, 1956). "Face Launched 1000 Extras". The Washington Post. 46. Harrison's Reports declared, "The massiveness and opulence of the settings, the size of the huge cast, and the magnitude of the battle between the Greeks and the Trojans are indeed eye- filling ... Unfortnately, the breathtaking quality of the production values is not matched by the stilted story, which takes considerable dramatic license with the Homer version of the events leading up to the Trojan war, and which are at best only moderately interesting.
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Governor Eden was featured as a character in the Hallmark Entertainment mini series Blackbeard, portrayed by Richard Chamberlain. The film takes severe dramatic license, portraying Eden as the governor of New Providence, the island which is now the capital of the Bahamas, as opposed to his real occupation as Governor of North Carolina. The film also puts heavy emphasis on Eden's historically alleged trade with Blackbeard, while also claiming that he conspired with colonial secretary Tobias Knight to arrange the murder of Eden's stepdaughter in order to claim her inheritance.
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Bernhard continued acting in mostly independent films and TV guest roles and forays into mainstream films such as Hudson Hawk and Dallas Doll. In 1991 she released her first studio album, entitled Excuses for Bad Behavior (Part One). In 1995, she briefly appeared as a guest in the animated talk show Space Ghost Coast to Coast, in an episode titled "Jerk". In 1996, she guest-starred on an episode of Highlander: The Series called "Dramatic License" in which she played a romance novelist writing about the life of the main character.
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A docudrama (or documentary drama) is a genre of radio and television programming, feature film, and staged theatre, which features dramatized re- enactments of actual events. On stage, it is sometimes known as documentary theatre. In the core elements of its story a docudrama strives to adhere to known historical facts, while allowing a greater or lesser degree of dramatic license in peripheral details, and where there are gaps in the historical record. Dialogue may include the actual words of real-life people, as recorded in historical documents.
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Stars and Stripes Forever is a 1952 American Technicolor film biography of the late-19th-/early-20th-century composer and band leader John Philip Sousa. This 20th Century Fox feature was produced by Lamar Trotti, directed by Henry Koster, and stars Clifton Webb, Debra Paget, Robert Wagner, and Ruth Hussey. The film's title is taken from Sousa's "The Stars and Stripes Forever", which has become the best known of his military marches. While the film's storyline is loosely based on Sousa's autobiography Marching Along, the film takes considerable liberties and dramatic license, often expanding and examining themes and passages from Sousa's book.
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It received poor reviews both for content and for historical accuracy, and was criticized by Forsythe, Evans, and Collins in separate press releases. Filmed in Australia, the movie starred Bartholomew John as Forsythe, Melora Hardin as Evans, and Alice Krige as Collins. The film begins with a disclaimer noting the inclusion of "time compression and composite and fictionalized characters and incidents," and takes dramatic license with both the historical timeline and events, as well as the fictional storylines originally presented on Dynasty. On May 2, 2006, a non-fiction television special named Dynasty Reunion: Catfights & Caviar aired on CBS.
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Relatively little detail is known of Farinelli's life, and the film makes inventive use of what is known, including elements for which there is no historical basis. Among the historically-documented elements of the film are the rivalry between Handel and Porpora, the account of Farinelli competing with a trumpeter for holding a note and his skill as a harpsichordist. Although loosely based on known events, the film takes dramatic license with many specific details on music and the facts of Farinelli's life. The film is largely concerned with a speculative psychological account of Farinelli’s experience.
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Created, produced, and directed by radio actor and director Elliott Lewis, the program was a historical true crime series, examining crimes and murders from the past. It grew out of Lewis' personal interest in famous murder cases and took a documentary-like approach to the subject, carefully recreating the facts, personages and feel of the time period. Comparatively little dramatic license was taken with the facts and events, but the tragedy was leavened with humor, expressed largely through the narration. The crimes dramatized generally covered a broad time and place frame from ancient Greece to late 19th-century America.
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This was a trademark of Ross Hunter's remakes of older "weepies"; he employed the same method in Lana Turner's versions of Imitation of Life and Madame X. Of all three screen versions of Back Street, this 1961 production took the most dramatic license with the novel. It is different from both the 1932 and 1941 screen versions in many ways – changing the names of several characters and updating the story to what was then the present day. Good examples of how the plotline was sensationalized in this third version are the attempted suicide and the fatal car crash.
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Most of the episodes of The Golden Girls put Sophia's age as between 80 and 85 years old. In the first episode of The Golden Palace (1992) Sophia's age was said to be 87 years old. In her many flashbacks to life in Sicily, she frequently places herself as being a young woman (having romantic affairs) in dates between 1912 and 1920, and in another season 2 episode, "And Then There Was One", Sophia claims she had been "walking since 1904." These discrepancies may be due to either continuity errors or dramatic license on the part of Sophia or possibly caused by her stroke.
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Boone was hired as an assistant at T.C. Williams, and expected to be to Yoast's assistant after the Alexandria consolidation in 1971. The climax of the movie is the fictionalized 1971 AAA state championship football game between T. C. Williams and George C. Marshall High School. The dramatic license taken in the movie was to convert what was actually a mid-season matchup between T. C. Williams and Marshall into a made-for-Hollywood state championship. In reality, the Marshall game was the toughest game T. C. Williams played all year and the actual state championship (against Andrew Lewis High School of Salem) was a 27–0 blowout.
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The "elevator" was actually built on a large turntable at the intersection of the two floor sets, and rotated once the doors were closed. When the doors reopened, the actors appeared to be in a different location. In doing so, the movie exercised a bit of dramatic license—the CBS executive offices at the time were located at 485 Madison Avenue.Broadcasting Yearbook 1952, page 448 CBS News was located in an office building just north of Grand Central Terminal (demolished and now the site of the MetLife Building);Kuralt, Charles, A Life on the Road, 1991 and the See It Now studio was located in Grand Central Terminal itself, above the waiting room.
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Two FBI agents refused advisory roles on the film, with one criticizing the film for creating a work of fiction and claiming it was inaccurate. Thomas E. Nicoletti had been hired by the filmmakers as a consultant, but quitThink Progress » FBI Agent Who Consulted On Path to 9/11 Quit Halfway Through Because ‘They Were Making Things Up’ because "There were so many inaccuracies...I'm well aware of what's dramatic license and what's historical inaccuracy," Nicoletti said. "And this had a lot of historical inaccuracy.'" Dan Coleman, who retired from the FBI in 2004, said he also was concerned when he read the script in the summer of 2005 after being approached by producers about being a technical advisor.
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Docudrama producers sometimes choose to film their reconstructed events in the actual locations in which the historical events occurred. A docudrama, in which historical fidelity is the keynote, is generally distinguished from a film merely "based on true events", a term which implies a greater degree of dramatic license; and from the concept of "historical drama", a broader category which may also encompass entirely fictionalized action taking place in historical settings or against the backdrop of historical events. As a portmanteau, docudrama is sometimes confused with docufiction. However, unlike docufiction—which is essentially a documentary filmed in real time, incorporating some fictional elements—docudrama is filmed at a time subsequent to the events portrayed.
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The military service record of Slovik, which is now a public archival record available from the Military Personnel Records Center, provides a detailed account of his actual execution. It was upon this that most of the film was based. The execution in the film, including the missed shots by the firing squad which led to Slovik dying slowly on the firing post over a course of five minutes, are accurate as compared to the actual execution. A slight dramatic license does occur in the final scene, as there is no evidence that the priest attending Slovik's execution shouted "give it another volley if you like it so much" after the doctor indicated Slovik was still alive.
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Poe makes no attempt to describe accurately the operations of the Spanish Inquisition, and takes considerable dramatic license with the broader history premised in this story. The rescuers are led by Napoleon's General Lasalle (who was not, however, in command of the French occupation of Toledo) and this places the action during the Peninsular War (1808–14), centuries after the height of the Spanish Inquisition. The elaborate tortures of this story have no historic parallels in the activity of the Spanish Inquisition in any century, let alone the nineteenth when under Charles III and Charles IV only four persons were condemned. The Inquisition was, however, abolished during the period of French intervention (1808–13).
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" Edelstein wrote that the film "is brisk, well crafted, and enjoyable enough, but the characters seem thinner (Sheen is all frozen smiles and squirms) and the outcome less consequential." Writing for the conservative National Review, Fred Schwarz, who deemed the Frost/Nixon interviews "a notorious fizzle", commented that, the film "is an attempt to use history, assisted by plenty of dramatic license, to retrospectively turn a loss into a win. By all accounts, Frost/Nixon does a fine job of dramatizing the negotiations and preparation that led up to the interviews. And it’s hard to imagine Frank Langella, who plays a Brezhnev-looking Nixon, giving a bad performance. Still, the movie’s fundamental premise is just plain wrong.
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Artistic license is often referred to as dramatic license when it involves the glamorization of real-world occupations for the sake of exciting television or cinematic experience. For example, CSI: Crime Scene Investigation and other police procedural programs typically omit completely the more mundane aspects of the occupation such as paperwork, reports, administrative duties and other daily "business-oriented" aspects which in reality often constitute the majority of police work. They will also present other duties with much more action, suspense or drama than would be experienced in reality. The same is also true for many military-oriented adventure stories which often show high-ranking characters being allowed to continuously enter dangerous situations when in reality, they would usually be restricted to command-oriented and administrative duties.
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In the movie Remember the Titans (2000), the climax of the movie comes at the end of the 1971 AAA state championship football game between T.C. Williams High School and George Marshall High School. The movie was dramatized from a Washington Post series about race relations in the high school football fishbowl of 1971, as the Hollywood-underdog T.C. Williams Titans took on the powerful Marshall Statesmen (coached by Ed Henry). The most notable dramatic license taken in the movie was to convert what was actually a regular-season matchup between Marshall and T.C. Williams into a made-for-Hollywood state championship. In reality, the Marshall game was the toughest game T.C. Williams played all year and the actual state championship (against Andrew Lewis High School of the Roanoke Valley) was a 27-0 blowout.
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Grissom did not even know he was under consideration for the astronaut program until he received mysterious orders "out of the blue" to report to Washington in civilian clothing for what turned out to be a recruitment session for NASA. While the film took liberties with certain historical facts as part of "dramatic license", criticism focused on one: the portrayal of Gus Grissom panicking when his Liberty Bell 7 spacecraft sank following splashdown. Most historians, as well as engineers working for or with NASA and many of the related contractor agencies within the aerospace industry, are now convinced that the premature detonation of the spacecraft hatch's explosive bolts was caused by mechanical failure not associated with direct human error or deliberate detonation by Grissom. This determination had been made long before the film was completed.
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Since the early 2000s, he has been doing voiceover work, including films like Batman Unlimited: Animal Instincts and video games like Warlords Battlecry, Legacy of Kain: Defiance, X-Men Legends II: Rise of Apocalypse, Tomb Raider: Legend, Tomb Raider: Anniversary, Final Fantasy XIV, Mass Effect, Infinity Blade II, Infinity Blade III, Metal Gear Rising: Revengeance and Middle-Earth: Shadow of Mordor, as well as animated television series: Alfred Pennyworth in The Batman and Adrian Toomes in Marvel's Spider-Man. His most notable television guest appearances include episodes of Tracey Takes On..., Buffy the Vampire Slayer, Charmed, Angel and Leverage. Duncan was one of 400 actors considered for the lead role in the international hit series Highlander: The Series but lost out to Adrian Paul yet he later guest-starred in the fifth season's episode "Dramatic License" as immortal Terence Coventry.
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The story of the quiz show scandal and Van Doren's role in it is depicted in the film Quiz Show (1994), produced and directed by Robert Redford, in which Van Doren is portrayed by Ralph Fiennes. The film made $24 million by April 1995, and was nominated for Academy Awards in the categories of Best Picture, Best Director, Best Actor in a Supporting Role, and Best Adapted Screenplay.IMDb.com The film earned several critiques questioning its use of dramatic license, its accuracy, and the motivation behind its making. The movie's critics have included Joseph Stone, the New York prosecutor who began the investigations; and Jeffrey Hart, a Dartmouth College scholar and senior editor of National Review; and a longtime friend of Van Doren, who saw the film as falsely implying tension between Van Doren and his accomplished father.
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While working on the movie, Susannah Grant wrote to a specific story outline, and no scene was rewritten less than thirty-five times until she felt it was perfect. Story supervisor Tom Sito, who became the project's unofficial historical consultant, did extensive research into the early colonial era and the story of John Smith and Pocahontas, and was confronted over the historical inaccuracies from historians. Already knowing that in reality Pocahontas married John Rolfe, Gabriel explained it was felt that "the story of Pocahontas and Rolfe was too complicated and violent for a youthful audience" so instead, they would focus on Pocahontas's meeting with John Smith. The filmmakers discovered that Pocahontas was around twelve years old and Smith was "not a very likeable character", in which producer James Pentecost confessed that dramatic license was needed to be taken.
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As many of the Peranakan characters in the series (such as most of the Huang family, as well as Charlie Zhang and son Robert) are antagonists (Jincheng, Xiufeng and Huangyuan are part-time antagonists), many viewers think that the series will negatively stereotype Peranakans as being ruthless. In response, the show's writer, Ang Eng Tee, said that ruthlessness and petty politicking, which are basic human interactions, appears within any culture, and is not an exclusive trait of the Peranakans. Due to the usage of dramatic license, the series also contains a significant number of historical inaccuracies, particularly in the first few episodes involving Juxiang's life and Yueniang's childhood. Notable examples include the outbreak of the Second Sino-Japanese War in 1932 (as opposed to 1937) and the first air raid on Singapore (8 December 1941) occurring in broad daylight (which took place at night in reality).
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The resultant book, Lost Moon: The Perilous Voyage of Apollo 13, was published in 1994. The next year, in 1995, a film adaptation of the book, Apollo 13, was released, directed by Ron Howard and starring Tom Hanks as Lovell, Bill Paxton as Haise, Kevin Bacon as Swigert, Gary Sinise as Mattingly, Ed Harris as Kranz, and Kathleen Quinlan as Marilyn Lovell. James Lovell, Kranz, and other principals have stated that this film depicted the events of the mission with reasonable accuracy, given that some dramatic license was taken. For example, the film changes the tense of Lovell's famous follow-up to Swigert's original words from, "Houston, we've had a problem" to "Houston, we have a problem". The film also invented the phrase "Failure is not an option", uttered by Harris as Kranz in the film; the phrase became so closely associated with Kranz that he used it for the title of his 2000 autobiography.
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I Chapter III pp.306-309 Accurate details in the novel include the names of the townspeople (with only minor exceptions), the blizzards' frequency and the deep cold, the Chicago and North Western Railway stopping trains until the spring thaw after the snow made the tracks impassable, the near-starvation of the townspeople, and the courage of Almanzo Wilder and Cap Garland, who ventured out on the open prairie in search of a cache of wheat that no one was even sure existed. The fictionalized material includes the "Indian warning" in an early chapter and the duration and frequency of blizzards. While historical records indicate a larger than usual number of blizzards that winter, Wilder's description of storms lasting on average three days each, with only two to two-and-a-half days' separation, from late October until early April, would imply about 35 separate blizzards during that time frame, which may be dramatic license.
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Screenwriter William Goldman, who had been attached to the film prior to the hiring of Kaufman, left the project after quarreling with Kaufman about story elements, including Goldman's excision of the Yeager narrative and the unabashedly jingoistic tone of his adaptation (spurred by the Iran hostage crisis). While the movie took liberties with certain historical facts as part of "dramatic license", criticism focused on one: the portrayal of Gus Grissom panicking when his Liberty Bell 7 spacecraft sank following splashdown. Most historians, as well as engineers working for or with NASA and many of the related contractor agencies within the aerospace industry, are now convinced that the premature detonation of the spacecraft hatch's explosive bolts was caused by failure not associated with direct human error or deliberate detonation at the hands of Grissom.Into That Silent Sea This determination had, in fact, been made long before the movie was filmed, and even Tom Wolfe's book only states that this possibility was considered, not that it was actually judged as being the cause of the accident.
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