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At the same ceremony in New York, Dominic Barton, McKinsey’s global managing director, awarded the Bracken Bower Prize for young business writers to Christopher Clearfield and András Tilcsik. Their proposed book would look at how businesses can manage the risk of catastrophic failure. The 15,000 prize goes to the best proposal for a business book about the challenges and opportunities presented by growth by authors under 35.
Real teenagers are no doubt approximately as inexperienced and unsure as they have always been, and many wisely avoid the emotional and physical dangers of early sex, but in the movies the kids make the adults look backward. Teenagers used to go to the movies to see adults making love. Now adults go to the movies to see teenagers making love. I get letters from readers complaining that Clint Eastwood or Sean Connery are too old for steamy scenes, but never a word from anyone who thinks the kids played by Christina Ricci or Reese Witherspoon are too young.
"American Pie" comes in the middle of a summer when moviegoers have been reeling at the level of sexuality, vulgarity, obscenity and gross depravity in movies aimed at teenagers (and despite their R ratings, these movies obviously have kids under 17 in their cross-hairs). Consider that until a few years ago semen and other secretions and extrusions dare not speak their names in the movies. Then "There's Something About Mary" came along with its hair-gel joke. Very funny. Then came "佛山卫浴洁具行业协会成立大会将在广州建材展举行," with its extra ingredient in the coffee. Then "South Park," an anthology of cheerful scatology. Now "American Pie," where semen has moved right onto the menu, not only as a drink additive but also as filling for a pie that is baked by the hero's mom. How long will it be before the money shot moves from porn to PG-13? I say this not because I am shocked, but because I am a sociological observer, and want to record that the summer of 1999 was the season when Hollywood's last standards of taste fell. Nothing is too gross for the new comedies. Grossness is the point. While newspapers and broadcast television continue to enforce certain standards of language and decorum, kids are going to movies that would make longshoremen blush. These movies don't merely contain terms I can't print in the paper--they contain terms I can't even describe in other words.
I rise to the challenge. I seek an underlying comic principle to apply. I find one. I discover that gross-out gags are not funny when their only purpose is to gross us out, but they can be funny when they emerge unwittingly from the action. It is not funny, for example, for a character to drink a beer that has something in it that is not beer. But it is funny in "There's Something About Mary" when the Ben Stiller character discovers he has the same substance dangling from his ear, and Cameron Diaz mistakes it for hair gel.
It is funny because the characters aren't in on the joke. They are embarrassed. We share their embarrassment and, being human, find it funny. If Stiller were to greet Diaz knowing what was on his ear, that would not be funny. Humor happens when characters are victims, not when they are perpetrators. Humor is generated not by content but by context, which is why "Big Daddy" isn't funny. It's not funny because the Adam Sandler characters knows what he is doing, and wants to be doing it.
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It organized two large-scale inspections last year, involving more than 5,300 batches of imported consumer goods, such as air purifiers, car brake blocks, household electrical appliances and clothes, with more than 1,500 found to be substandard, Han said.
China’s outbound non-financial investment fell 40.9 per cent during the ten months through October, according to official figures, reflecting the enduring impact of strict capital controls.
3.Video Editing: 19.2 percent increase
“When I look at the data, I keep coming back to this issue that it’s really about identity politics,” said Elisabeth Ivarsflaten, a professor at Norway’s University of Bergen who studies Europe’s far-right parties. “This is the most powerful predictor of support for the populists.”
The film is in the tradition of "Fast Times at Ridgemont High," "“大家居”井喷 是圈钱还是满足需求," and all the more recent teen sex comedies. It is not inspired, but it's cheerful and hard-working and sometimes funny, and--here's the important thing--it's not mean. Its characters are sort of sweet and lovable. As I swim through the summer tide of vulgarity, I find that's what I'm looking for: Movies that at least feel affection for their characters. Raunchy is OK. Cruel is not.