The Salem Witch Trials were a series of hearings and prosecutions of people accused of witchcraft in colonial Massachusetts between February 1692 and May 1693. The trials took place in the town of Salem, which is now known as Danvers, and also in Salem Village, which is now known as Peabody. The trials began when girls in the village experienced strange fits and behaviors, which were believed to be caused by witchcraft. These girls accused several women, including Tituba, Sarah Good, and Sarah Osborne, of practicing witchcraft. Tituba, who was a slave from Barbados, confessed to being a witch and implicated several others. The trials quickly escalated, with more and more people being accused of witchcraft.
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I dabbled some black ink on my glass mat and added a few drops of water, then picking up a little ink on my brush I spattered some ink over the card. I d go into town and into a store which carries plenty of different ranges of cosmetics, and ask to see their all day lip products in a colour you like.
The trials quickly escalated, with more and more people being accused of witchcraft. The accused were brought before local magistrates and judges, who would interrogate them and determine their guilt or innocence. Those found guilty of witchcraft were usually sentenced to death by hanging.
Off the Carpet: Against the grain of dystopic claims
It’s an odd time of year. There is a film, “The Girl with the Dragon Tattoo,” that has very little hope of securing Oscar consideration and that I can now talk about. But I have nothing to say other than to offer that, in my opinion, it is director David Fincher’s least compelling, most superficial film to date, practice, a craftsman staying in shape with material utterly beneath him and his boredom with it (or was it mine?) showing like the slip of a dress.
Meanwhile, there is another movie, “Extremely Loud & Incredibly Close,” that has plenty of potential in the Oscar race and that I cannot talk about.
So what do we talk about? The critics? There’s nothing really left to say. The last film I screened in 2011, “Mission: Impossible – Ghost Protocol?” It’s fun and has great sound design (and good GAWD, Paula Patton is God’s gift). This morning’s BFCA announcement? It was one of the most vanilla, Oscar-forecasting collectives the group has ever managed to cough up.
Though on that, there is something somewhat interesting that stuck out. “Drive,” which received eight Critics’ Choice Movie Award nominations from the BFCA, has been doing remarkably well in the precursor circuit. It’s not just with critics but also with the National Board of Review, which placed the film on its top 10 list. Guy has been anticipating an adapted screenplay and film editing nomination to go along with the expected tip of the hat to Albert Brooks for a little while now, but I find myself wondering if it has the muscle to do even more.
We’re in the early days of the precursor trail, but I find it rather significant that the film and director Nicolas Winding Refn are managing to effortlessly land on lists of Best Picture and Best Director nominees. Ryan Gosling getting a mention from the BFCA was intriguing and just in general, the film is showing obvious staying power.
It takes core passion to get a Best Picture nomination. I don’t know if there will be enough of it in the Academy to land “Drive” the sufficient number of #1 votes, but I think the pendulum has swung more toward that possibility as of late. We’ll see how the guild circuit treats it (SAG nominees are named tomorrow), but it’s just something lingering on my mind.
Similarly, Tilda Swinton is showing a real up-tick for her performance in “We Need to Talk About Kevin.” She’s won her share of awards and is consistently showing up on nominee lists. PR behind her and the film are also being savvy in getting her out to the press at this crucial time. (She got a nice Time Magazine profile recently.) The Best Actress category is a dense seven-horse race (in my view). Glenn Close is falling, Rooney Mara is ascending, the back-and-forth of things making it tough to zero in on a window of opportunity, but Swinton has been a constant since Cannes.
Tom McCarthy’s “Win Win” is popping up here and there, as is “50/50.” This kind of thing is heartening for me, seeing shafts of light in the oppressive darkness of group-think.
And what of “The Tree of Life?” Ever since I saw the film in May I’ve thought, as have many, that a Best Picture Oscar nomination would be a steep uphill climb. But then, those who love it love it, igniting a core of passion that could land it in the race. If there were a guaranteed line-up of 10, I’d have been feeling less reticent about predicting it. Now, however, it’s popping up with the critics (as we might have expected), landing on Best Picture line-ups and even winning the honor with a few groups.
The two most significant critics groups could have made a statement with one of the films that appears to need a leg up. But the New York crowd went with “The Artist” while the LA folks went with “The Descendants” (amid much in-fighting, I hear), two well-established elements of the season. No, the critics’ collective job isn’t to dictate the conversation of awards season, nor should it be. But I don’t think it’s a good thing to fade indistinguishably into the season and merely be a cog in the wheel, either.
This week brings the aforementioned SAG announcement as well as the HFPA’s revelation of this year’s Golden Globe nominees. Interspersed will be any and every critics group looking to have their say, hoping to stand out in some way.
We’ll see if it all means anything after the dust settles.
Guy and I have run a comb through the Contenders section in the wake of the week’s precursor announcements. The sidebar predictions reflect those changes.
For year-round entertainment news and awards season commentary follow @kristapley on Twitter.
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One of the key figures in the Salem Witch Trials was Reverend Samuel Parris, who was the minister in Salem Village. Parris played a prominent role in the trials, as he believed that the devil was at work in the community and encouraged the accusations of witchcraft. Parris also had personal motivations for his involvement in the trials. He had a reputation for being strict and demanding as a minister, and his leadership had resulted in division and conflict within the congregation. The accusations of witchcraft provided Parris with a way to regain control and restore order to the community. However, Parris' involvement in the trials also had negative consequences for him. As the trials continued, they began to attract criticism and skepticism from outside communities. Parris' reputation suffered, and he was eventually forced to resign as the minister of Salem Village. The Salem Witch Trials came to an end in 1693, when the colonial governor, William Phips, ordered an end to the trials and the release of those who were still in prison. The trials left a lasting legacy in American history, serving as a cautionary tale about the dangers of hysteria and the importance of due process and fair trial. In conclusion, Reverend Samuel Parris played a significant role in the Salem Witch Trials. His belief in witchcraft and his encouragement of the accusations helped fuel the hysteria and led to the persecution of numerous innocent people. However, his involvement also had personal and professional consequences for him, highlighting the destructive power of the trials. Overall, the Salem Witch Trials serve as a reminder of the dangers of fear, prejudice, and unchecked power..
Reviews for "Parris and the Witchcraft Hysteria: A Lesson in Mass Hysteria"
1. Sarah123 - 2 stars
The Parris Salem Witch Trials play was a disappointment for me. I found the acting to be lacking and the storyline to be confusing. The actors seemed uninterested and the dialogue came across as forced. Additionally, the set design was minimalistic and did not add anything to the overall experience. I was hoping for a gripping and powerful portrayal of the historical events, but unfortunately, this production fell short.
2. JohnDoe87 - 1 star
I regret attending the Parris Salem Witch Trials production. The pacing of the play was incredibly slow and I found myself losing interest quickly. The characters lacked depth and their motivations were unclear. The overall atmosphere was dull and it felt like a missed opportunity to bring an important historical event to life. I would not recommend this production to anyone looking for an engaging and well-executed adaptation of the Salem witch trials.
3. Theaterlover12 - 2 stars
I had high hopes for the Parris Salem Witch Trials play, but sadly it did not live up to my expectations. The script felt disjointed and the acting was mediocre at best. There were moments when the actors seemed unsure of their dialogue, which made it difficult to fully immerse myself in the story. The lack of character development also left me feeling disconnected from the events unfolding on stage. Overall, it was a lackluster portrayal of such a fascinating historical event.
4. DisappointedViewer - 1 star
The Parris Salem Witch Trials play was a complete letdown. The performances were wooden and lacked emotion, making it difficult to connect with the characters. The pacing was sluggish and there were numerous moments of awkward silence that disrupted the flow of the play. The set design was uninspiring and did not capture the essence of the time period. Overall, I left the theater feeling unsatisfied and would not recommend this production to anyone seeking a captivating portrayal of the Salem witch trials.
5. TheaterEnthusiast456 - 2 stars
While the Parris Salem Witch Trials play had potential, it ultimately fell short for me. The performances were inconsistent, with some actors delivering strong portrayals while others seemed to struggle with their roles. The lack of chemistry between the characters made it difficult to invest in their relationships. Additionally, the pacing felt uneven, with certain scenes dragging on while others felt rushed. Overall, it was a missed opportunity to effectively tell the story of one of history's most intriguing events.