Working Relationships – Actors Repeatedly Working Together

Have you ever watched a film and thought what a great connection two of the actors had with each other that you just know they must get along so well behind the scenes too? They play off each other in such a way that it brings a unique quality to the film. So when those two actors get cast in another movie together, it makes the audience members want to go see it to re-live that connection in another cinematic environment. Sometimes, however, that casting combination almost gets to be too much; too predictable. When you hear one of the actors is in a film, it automatically makes you wonder if the other is going to be in it as well.

One of the most popular casted couples is Johnny Depp and Helena Bonham Carter. With a good reason. Johnny Depp and Helena Bonham Carter have shared 7 film titles since 2005, including the soon to be released Lone Ranger film, which is the only film the two actors share that was not directed by Tim Burton. It’s not uncommon for directors and television show creators to have a preference of actors to work with. Particularly if the director or creator makes films or shows that have unusual plot lines or that take an abnormal creative stroke. Helena Bonham Carter and Tim Burton share more than a working relationship. They have been a couple since 2001 and have two children together. It wouldn’t be surprising for Burton to show his partner some preferential treatment in casting, but it is actually Depp that Burton has done more films with.

Alexis Denislof and Amy Acker share only 1 movie but a startling 5 television shows and are both preferential actors for Joss Whedon, who is famous for re-using actors. What is interesting about these two actors particularly is that in only one of the TV shows and the movie do they have any sort of a relationship. Usually these characters are seen in the same show, but not necessarily interacting.

Yet perhaps the strangest instance of actors working repeatedly together is Adam Sandler and his gaggle of fellow actors. For instance, Adam Sandler and Allen Covert share 19 movies and 1 TV show.  Covert has 37 movies and TV shows to his name. Adam Sandler and Rob Schneider have been in 16 movies and 1 TV show together. Schneider has 64 movies and TV shows to his name. The least worked together of this list is Sandler and Steve Buscemi. While the 8 movies that they share is impressive, Buscemi’s credentials are more so. While Sandler has been in 46 movies and TV shows, Buscemi has been in nearly 130, and Buscemi’s film career started only two years before that of Sandler’s. The last of this list is Peter Dante, who has acted with Sandler in 11 movies and 2 television shows, out of his less then impressive 23 cinematic credits.

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Masquerade – What Masks Add Or Subtract From A Film


Man is least himself when he talks in his own person.

Give him a mask, and he will tell you the truth.

~Oscar Wilde

Masks are constructed primarily as a way of hiding the face beneath them, but they serve so many other purposes as well. Most masks are metaphorical because a physical mask is more distracting than practical, so to feature a character who wears a mask is a risky move for a film, as so much is communicated through physicality and facial expressions. This particular blog entry will focus on five films and their effectiveness of a masked lead.

#1. The Mask of Zorro

While created in 1919 by Johnston McCulley, Zorro was brought into modern popularity by the 1998 film The Mask of Zorro starring Antonio Banderas and Anthony Hopkins both as Zorro, though it is Hopkins who plays Don Diego de la Vega, the man on whom the original stories were based. The mask served as a way for de la Vega to maintain his identity while fighting the tyrannical Spanish lords. Yet the mask serves as a way to pass on the identity of Zorro on to the next generation as well. The mask is a symbol of hope to the peasant populace, who rally behind Zorro, with faith that he will save them from their dire circumstances. Who is behind the mask is never really sought after. It is simply taken on faith that a man wearing the mask of Zorro will act as savior. Which, of course, he does.

#2. The Princess Bride

Released as a film in 1987, The Princess Bride still has a loyal fan base a quarter of a century later. It’s listed in several respectable charts as being one of the greatest American romantic comedies of all time. In order to earn money to provide for the woman he wants to marry, Westley (played by Carry Elwes) leaves to makes a living as a sailor, but his ship gets attacked by the Dread Pirate Roberts and while it gets told through the narration that Westley dies, he resurfaces wearing a mask, portraying the role of the very pirate that was supposed to have killed him. Even the woman he left behind, his true love, failed to recognize him. It becomes revealed that Westley took over the role of the Dread Pirate Roberts when the previous one (merely another imposter in the chain of men taking over the role before them) gets tired of playing the villain and simply wants to retire and live in peace with his amassed wealth. Westley uses the mask, and the persona, to inspire fear (and even respect) in his search to regain his lost love. When the mask is gone, the persona slips as well. Whether Westley appointed another as the Dread Pirate Roberts before leaving his fleet behind is unknown.

#3. The Phantom of the Opera

Originally published as a serial that ended in 1910, the story of the Phantom has undergone several film adaptations. Most notably the 1925 Lon Chaney version and the 2004 musical based on Andrew Lloyd Webber’s stage opera, starring Gerard Butler. Unlike the first two, Erik (the Phantom) wears the mask to hide a hideous disfigurement. Several theories, left unexplained by author Gaston Leroux, surround the reason for the disfigurement, but in all scenarios Erik is forced to wear the mask because society simply could not withstand his traumatizing appearance. At any rate, it was only after haunting an opera house in Paris that the mask became more than just a means of shielding Erik’s features, but also to inspire fear, though this only partially so because most people who Erik chose to show himself to usually ended up dead a short time after.

The_Phantom_of_the_Opera_by_Tray7Ironically, the mask that represents the phantom in most advertizements for the Broadway musical is never actually in the show, but was a last minute wardrobe change to allow the character some limited facial expressions, but the change came too late for the advertizements and playbills which had already been printed.

#4. V for Vendetta

While his back story is complicated and varies greatly from graphic novel to film, the main character (unsure of his real name, so he goes by the misnomer ‘V’) suffered incredible horrible and disfiguring burns over the entirety of his body. V, played by Hugo Weaving, chose to cover them by wearing a fairly elaborate costume of Guy Fawkes while battling the tyrannical and depraved government, as well as those that personally wronged him in the past. He uses his mask as a symbol of anarchy and hope. V mails everyone in central London masks so they can participate, not only in the chaos that he hopes their newly found anonymity can give them, but also in the stand against governmental oppression. Unlike all the other characters outlined in this blog, V is the only one who the audience never sees without his mask.

#5. The Lone Ranger

An icon of the American west, the Lone Ranger and Tonto are affixed to great western tales of cowboys and Indians. Making his debut on a radio show (another sort of mask in itself), love of the masked character was instantaneous. The story was revised in comic books, films, and television series, with a new film starring Armie Hammer and Johnny Depp. The 2013 film was chosen by Producers to be engineered similarly to The Mask of Zorro. The reason for the mask was to hide the Texas Ranger’s identity so that he could better fight the man who thought him dead. But it, too served as symbol, not only of inspiration, but for all that is good in the fight against evil.

In nearly all cases, masks serve more as a symbol than a way to hide an identity or cover a disfigurement. People are too frail to put such incredible faith in, but give people an icon, and they will rally behind it. In the same way that it can inspire faith, masks can also inspire fear, because people notoriously fear what they do not know. Freddy Krueger, Jason Voorhees, Michael Myers, Leatherface, and other such slasher movie villains all use masks to inspire fear, though give them a chainsaw, knife, razor nails, ect. and the mask means very little.


All images taken from Google

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Sinking Teeth – Fangs and Vampires


One of the most menacing features of the vampire is their fangs, threatening to sink into flesh and drain victims of blood. The origination of the fang mythology has several roots, but perhaps the most popular stems from the vampire bat, and that these creatures can carry a disease, similar to rabies that could infect someone and potentially turn them into a vampire.


With the morphology that the vampire has undergone through over the years, their  most iconic part of them has come gone under changes too. In Dracula by Bram Stoker, fangs were used like a proboscis, and were needle thin elongations. When he drank blood from his victims, they were easily confused with pinpricks possibly received during the fastening of a cloak. The fangs were sunk into the flesh and the blood suckled through the hollow interior of the teeth.

Over the years, fangs changed into instruments to rip flesh open so that the vampire could feed on the blood that was gushing from the wounds, a more messy and less productive, albeit faster feeding process. The ripping open of throats would also be much more difficult to hide, and it is a widely understood and accepted characteristic that vampires prefer to keep their existence hidden.

fangsThe position of fangs are thought of classically in the canine position, but historically, fangs have been the lateral as well as even the central incisors. Nosferatu, the quintessential classic vampire film has the two front teeth is extended into fangs. Sometimes fangs appear on the top and bottom of the mouth. Sometimes there are two sets of fangs. For some stories, but mainly only those where the vampire is still a grotesque and evil monstrosity, every tooth is a sharpened fang.

One modern idea is that fangs are retractable and only come out when the vampire wills it or becomes so blood thirsty – and in some cases horny – that they come out on their own. Some retract into the gum line, while others actually fold up into the roof of the mouth. This idea makes the possibility of vampires blending into normal life more believable.

In Twilight, Stephenie Meyer completely did away with much of the accepted vampire mythology, including fangs. Thus, when bitten by a vampire, they leave behind a crescent shaped scar like any other homo-sapiens.

Another common thought is that vampires contain an anticoagulant in their fangs that they inject like a mosquito, or a paralytic like a snake, that thins the blood so they can drain as much blood as possible. In some cases, the vampire’s saliva contains a healing agent that seals the wound closed when they’re done feeding. Again, this would be a defensive use to keep their anonymity. After all, if people kept turning up with two open puncture wounds it might give away the presence of vampires.

Fangs are so inextricably linked with vampires that regardless of placement, amount, size, or retractability, if you do away with them completely, the thing you are left with is only is a poor imitation of a vampire.


All images taken from Yahoo! Images

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The Influence of Disney Fairytales

Disney is a cornerstone of the American childhood. Even for someone like myself who was raised in an environment where most Disney movies were banned because of the witchcraft, sorcery, or overt references to Satan (The cat in Cinderella is named Lucifer, for example), I was still influenced via friends or the occasional contraband storybook found in a dentist’s or doctor’s waiting room that I would sneak into a corner or playhouse and read. I didn’t see most Disney movies until I was a babysitting teenager. To this day I have never seen Snow White and the Seven Dwarfs or 101 Dalmatians, yet I could tell you the stories and even sing nearly all the songs. With such a pervasive influence, it was impossible to escape the clutch of Disney.


When I say Disney, I should clarify that for the purpose of this blog I shall restrict my definition to the animated classics mainly centering around the princess fairytale. While this circumvents a lot of the boys who preferred the more rough and tough movies, like The Jungle Book, this exclusion is necessary for length and interest.

From toddlers to women in their thirties, nearly every girl in America can tell you their favorite Disney princess. For some, the reasons are superficial, like a shared hair color. For others the reasons are more complicated and involve an emotional connection to the struggles of the princess. A girl’s favorite Disney princess can say a lot about her, but what does Disney say in return? With such an important piece of girlhood revolving around Disney stories, it’s interesting to look closer at what it’s actually teaching impressionable young minds.

Snow White and the Seven Dwarfs – (1937) As it was stated before, I am familiar with thsnowwhitethe story, yet have never actually seen the movie, so this one will be relatively brief. After fleeing her evil stepmother (an unfortunate recurring theme in Disney stories as it predisposes children to distrust a stepmother figure) Snow White escapes into the forest and stumbles upon a little cottage. Finding it unoccupied, Snow White enters the cottage and makes herself at home (a felony nowadays). Once she is discovered by the seven dwarfs, they agree to let her stay so long as she cleans and cooks for them. Without any thought, Snow White agrees to exchange favors for seven strange men. While the story does discourage homicidal vanity and taking food gifts from strangers, encouraging young girls to move in with seven men (whatever their stature) seems like a very bad idea.

Cinderella -(1950) Perhaps the most popular and recognizable of all the Disney clipcindyface2rz1princesses, Cinderella is the quintessential “good girl.” She is kind, courteous, and obeys her evil step mother’s every order without protest. In her spare time, she rescues animals and makes clothing for them. However, it is only through magic that she is able to achieve her desires of going to the ball and meeting the prince. While this story reaffirms good behavior, it does emphasis that without her fairy godmother, Cinderella would have never escaped her stepmother’s hold. Many other versions of Cinderella have appeared over the years (one source says that Cinderella is the most re-told story in the history of literature and cinema), and in many of those re-telling the character of Cinderella is much more independent and less passive; a more heroic character, if less obedient.

Sleeping Beauty – (1959) While this is another story of thdisguise. Aurora is nothing more than a victim of circumstances beyond her control. She is not even made aware that she is not Briar Rose, the orphan peasant who lives with three matronly fairies, but is, in fact, the only child of the kind and queen. She’s a fairly unremarkable character who succumbs to the curse placed upon her as an infant. She lays in a coma until her prince comes to kiss her. She lives a normal life, discovers on her sixteenth birthday she’s a princess, falls under a spell, wakes up, and goes on to live happily ever after without any effort. Though, like Snow White, Mulan, Cinderella, Pocahontas, and Ariel, Aurora is able to talk to animals and understand them in return.

The Little Mermaid – (1989) The only amphibious of the princesses, Ariel sports dissatisfaction with her surroundings, constantly longing for the world on land. When she th2falls in love with a guy she sees dancing on a ship, her dislike of her home becomes even more intensified, until she finally makes a deal with the sea-witch to transform her body (for the low low cost of one voicebox) in order to abandon her father, sisters, friends, and entire world to pursue a man she knows nothing about. In the Hans Christian Anderson story that of the same name which Disney used as a basis, the little mermaid’s plan backfires when the prince uses the girl as a companion/servant and falls in love with someone else. The Anderson story concludes with the mermaid dying and turning into a spirit that is sustained by the goodness of little boys and girls. Disney’s mermaid causes her father’s entrapment to the sea-witch, which nearly results in the entire underwater kingdom being overtaken. Perhaps the most horrible outcome of all the runaway princesses. Ariel, and the entire ocean and aquatic life is only saved because Eric is intuitive enough to impale Ursula with the bow of one of his ships. Which is, essentially, a lucky shot. Things end happily for Ariel and she gets her prince, and still retains friendship with her marine pals and her family, but her love does keep her separated from her family and friends. It is only when they so choose to rise to the surface that she can have any real contact with them.

Beauty and the Beast – (1991) With a name like that means “beauty” it’s not wonder that appearance is central to the story of Belle. Like in Cinderella, goodness is translated to physical beauty. So all the characters who are good are also attractive, while the characters who are bad are ugly. Gaston, the would-be suitor to Belle is supposed to be handsome and Belle-Clipart-disney-princess-31763412-500-633attractive, in fact, he has an entire song based on his looks and masculinity. Yet no girl, familiar with the story or not, would admit that they find him appealing. In order to save her father, Belle agrees to be the prisoner of the Beast. Effectively selling herself. Belle is perhaps the least passive of all the princesses. She vocally refuses to capitulate to the Beast’s desires, even scolding him at times. Belle is the only princess whose prince charming is neither handsome, nor charming. Even Aladdin, who is a criminal (the Beast’s only crime was vanity) is at least pleasant and attractive to Jasmine. While almost all the princesses fought to overcome something, Belle was the only one who did so with no regard to herself. She fought to overcome the Beast’s anger and bitterness in order to make him a better person rather than to make her personal circumstances better. In all the other stories, there was some sort of personal gain involved, but Belle had already come to terms with her situation before she ever knew of the curse or of the way to reverse it. It can also be noted that Belle is the only one depicted as book-smart. Also, unlike all the other princesses, Belle is the only one not to fall in love at first sight.

Aladdin -(1992) I will avoid going into depth that the origination of this story is from One Thousand and one Nights (also known as The Arabian Nights) that features a king who marries virgins and then murders them the next day. But I will say that it can be a traumatic thing for a young girl to discover. Aladdin, while driven by poverty, is a thief and fugitive. Yet he is considered a “diamond in the rough” because he steals with a good heart. The guards are depicted as frightening, bumbling dopes. In other words, Aladdin is the pitiable bad boy, a victim of his circumstances. Yet he goes on to spin a massive lie in order to ingratiate himself to the spoiled princess. The theme here being that so long as he has a good heart, it’s okay to forgive his criminal activities. It should also be noted that they met because Jasmine lied about her own identity in an attempt to run away, leaving girls with the impression that if you don’t like your circumstances, running away and falling in love with a felon equals true love.jasminedisney8253735763

Pocahontas – (1995) The Native-American version of Romeo and Juliet, Pocahontas is pocahontasthe only one of the preceding Disney stories to be based soundly on a historical figure. Surprisingly, Disney does a relatively good job with accuracy when it comes to John Smith and Pocahontas. The other characters are much less historically credible. Not surprisingly,  this is the only story as well where the female protagonist does not have a happily ever after with the leading male character. Pocahontas defies her father, rejects her suitor, and risks her life to protect a man who is not of her own kind. While this thankfully works out for the good of most, one important fact is easily over-looked. Pocahontas’ disobedience leads to her betrothed’s (Kocoum) death. It should be noted that Pocahontas’ name means “playful.” But this does not necessarily mean fun. Playful can refer to mischief, such as playing with the line of right and wrong. Much like fairies are considered “playful.”

Mulan – (1998) Yet another story of a girl who runs away from her family, Mulan’s is fa_mulan_portrait_disney_tshirt-d2358473533171219261f52_500unique in that she goes to extensive lengths to disguise who she is. By wrapping up her chest and pretending to be a man, she joins the army, an act punishable by death. The story is based on a lie that began by a feeling of gender inferiority. Freud would have a field day with this story, but I will restrict myself to a simple commentary that lying and pretending to be someone you’re not, seems to always lead young Disney girls to their soul mates.


All images found on Yahoo! Images

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Werewolves Are Codependent


Ghosts, vampires, zombies, witches and wizards, angels and demons. Despite personal beliefs of the reality of these creatures, it can be easily argued that any one of these can stand alone in their own stories, and multitudinous stories do abound, both in literature and film. One supernatural creature, however, that cannot seem to stand on its own four legs is the werewolf. While there are many movies and books that feature the werewolf as its only supernatural element, the popularity of these stories is mainly limited to the werewolf enthusiasts who specifically search them out. names of the top 25 werewolf movies of all time as: Dog Soldiers, Silver Bullet, and Ginger Snaps. I would wager that the vast majority of people, even those who enjoy supernatural thrillers, have never heard of the top five. The more well known – and quite possibly more publicized – stories such as the Underworld movies, True Blood books and television show, and (dare I say it?) the Twilight stories, all feature werewolves, but only as counterparts to the more dominate characters of the vampires. Stephenie Meyer even created her werewolves as creatures who remain normal, un-mutated humans without the presence of vampires. Once introduced into their society, however, a genetic code is triggered, causing the young and able-bodied teens to turn into the protective, over-grown puppies.

In fact, in most every story where vampires and werewolves both feature, the vampire is considered the superior race. Perhaps this is a translation of the popularity of the vampire over the werewolf. One possible reason for this is stereotypes. Werewolves can be thought of as a devolution of humanity into single-minded bestiality, while the popular view of vampires are more sophisticated immortals, who, when not gnawing on someone’s neck, is reading, philosophizing, or learning yet another language to add to the repertoire of their fluent grasp of all the main languages. On the other hand, it is generally assumed that werewolves can return to their normal warm-blooded existence when a full moon is not present. A vampire cannot become un-un-dead, as it were. It might be that this makes people more sympathetic to the vampire who can never be human again, whereas the werewolf only seems to suffer from their malady once a month. I shall refrain from making menstrual related innuendos or parallels, as this seems to be a very sensitive topic for fans of the werewolf. I will mention, however, that men, more than women, tend to prefer werewolves. Women usually lean towards the sensuality that vampires have been modernized to have. Particularly with the fang-castration of having a “safe” vampire lover, one who lives off animal blood, who resits the urge to feed off his beloved damsel. After all, as a woman, when it comes to falling for a giant wolf with dog breath or a sophisticated immortal, is it really such a mystery whom she would choose? A man’s best friend is a dog. A woman’s best friend is diamonds. And that is in no way a reference to boys that “sparkle” – a trait that is distinctly not vampiric. Although that might explain Stephanie Meyer’s odd choice.


That’s not to say that men don’t have an affinity for vampires. The lines of men’s supernatural preference seem fairly evenly divided. It is the female population that pulls the vampire desire much more strongly into the popular.

vampire lips

All images taken from Google

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Secondary Spaces

Many American television shows have a main focal point where the majority of the episode occurs, but there is usually a secondary place outside the home or office where the characters can gather. This place has several different functions.

Firstly, it can act as a therapist’s couch. It can be a safe place to vent out problems that would otherwise be unsuitable for conversation in the main environment. This secondary space is usually in public, but not an overly noisy place, allowing the characters to both share intimate confidences as well as shout in anger, happiness, or just for fun.

Secondly, it equalizes ranks. If the characters of the show have a hierarchy, the meeting place temporarily voids those lines. It does the same for groups of friends who have very different careers. This is necessary for the personal characteristics of each individual to show. How the characters interact when the ranks have been dissolved says more about who the person is than when you know they’re merely conforming to the echelon, or rebelling against it.

Thirdly, it serves as a place of stability. When things at the office go badly, or the home life changes, or life in general just gets complicated and frustrating, the secondary space is a constant. The characters will have a specific table, couch, booth, bar stool, ect. that they will occupy. It might be that over the course of a series, the characters might sit somewhere else, but this is extremely temporary and happens only rarely.

So what are these others places and what do they serve for the individual show? The following is merely a very brief list. A full list would be far too extensive for anyone to be able to maintain interest.

Perhaps the most obvious secondary space is the very iconic couch in Central Perk in one of the most popular American television shows of all time: “Friends.” Through changing jobs, changing relationships, changing apartments, and changing lives, that couch was in almost every episode.

“Buffy the Vampire Slayer” developed a cult following in my generation, and what would the Scoobies be without their library? This place served as a sort of office, it’s true. And it’s rare for there to be work within the safe space, but due to the nature of the show, it was necessary, and most of the “action” took place elsewhere. When the library gets destroyed, the safe space moves to the magic shop and serves the same purpose.

Another show to receive a huge following is “How I Met Your Mother.” This show has an unusual circumstance as well. It actually has two special places. One is the booth of the bar beneath the apartment building, which functions in the same way as the couch in “Friends.” The other space is the couch where Ted tells his kids the story of how he met their mother. This couch is only seen in a comparative handful of episodes, but the purpose of it is the same. While this couch is, in fact, in a home, this home has yet to become the livable domicile that it is when Ted goes back to tell the stories.

As I stated before, the list could go on and on, but I’ll stop with three shows of widespread popularity and their peculiar differences.


All images taken from Google.

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Supermax America

While in London last week, I read an article in the Metro newspaper by Fred Attewill called “Hell that awaits Abu Hamza” that condemned (pun intended) American prison’s use of solitary confinement. Spinning off a list of statistics decrying what a horrific and barbaric thing solitary confinement is, Attewill conveniently neglects to mention what kind of people are being placed there. It’s not innocent civilians, pulled off the streets and thrown into a tiny, windowless room to spend a few years, these are criminals. Some are so depraved that they are more animalistic that human. Abu Hamza, the recently extradited terrorist and title character of the article, is facing time in a supermax prison in Florence, Colorado. Attewill calls Abu Hamza a “radical cleric.” A kind title for what he has done. In addition to the 15 UK offenses he has been charged with, Abu Hamza was also found by the US to be:

  • Guilty of 6 charges of soliciting to murder
  • Guilty of 3 charges related to “stirring up racial hatred”
  • Guilty of 1 charge of owning recordings related to “stirring up racial hatred”
  • Guilty of 1 charge of possessing “terrorist encyclopaedia”
  • Not guilty of 3 charges of soliciting to murder
  • Not guilty of 1 charge related to “stirring up racial hatred”

Not only that, but according to BBC news, “on the first anniversary of the 9/11 attacks, he co-organised a conference at the mosque praising the hijackers.” Can we so easily forget the more than 3000 innocent people killed by the terrorist attack that Abu Hazam praises? This is a man who not only praises the killing of people who choose not to believe the same religion as him, but openly encourages the further murders of every single person who is not a devout Muslim.

Attewill’s article highlights that the solitary confinement cells are 2m x 2.78m (6 ft 6in x 9ft 2in). I’ve seen a good many bedrooms smaller than that. And what, exactly would Attewill like for the convicts? A five-star hotel room, perhaps? They already have their meals prepared for them, are allowed books, and sometimes even television. Attewill also highlights that “It is estimated that between 1/3 and 1/2 of inmates in isolation in the US have some form of mental illness.” But he seems to forget that these are violent offenders. People entirely in their right minds usually don’t go on killing sprees or soliciting others to murder.

It’s true that British prisons don’t have nearly as much of a problem with prisoners, but America also roughly the size of the entirety of Europe. Which means that more population means proportionally more criminals. Of course the UK doesn’t have nearly the prison problem the US does, it’s an 1/8 of the US’s size.

While I realize this is a bit more of a rant than usual for me, I believe that the old cliche is true, that you shouldn’t judge until you’ve walked a mile in the other person’s shoe. Perhaps if Attewill took a turn as a prison guard in a US jail -or any jail of violent offenders, he might just have a change of heart. The reality is, this criminals are in jail for a reason. They get put into solitary confinement for a reason. So rather than judge the system that tries protect the innocents from these people, Attewill might do well to remember that people like Abu Hamza, would gladly kill Attewill given chance, and do so, not only without remorse, but with celebration.

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