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5 Crazy Ways People Amused Themselves Before Television

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Before people had hundreds of channels, if they wanted to watch surgery or gawk at celebrity babies, they had to actually leave the house. Here are some of the ways people entertained themselves in the pre-TV era.

1. Attending Public Dissections

Thanks to advances in science and the relaxing of church and government laws, the dissection of human corpses came back into vogue in the 1300s. At first these dissections were performed in small rooms or houses for the benefit of a handful for medical students. Then, almost overnight, a bored and apparently pretty morbid public started clamoring to attend them as well.

Specially designed “anatomy theatres” were purpose-built in many of the major European cities; most could seat well over 1,000 people. Tickets were sold to the public and the prices often varied based on how “interesting” that particular corpse was.

The most expensive tickets sold in Hanover were 24 Groschen to see a woman who died while pregnant. The audiences were so excited about what they were watching that as early as 1502 a surgeon recommended having guards present at each dissection to “restrain the public as it enters.”

While most etchings from the period show only men at the viewings, women attended as well. In 1748, the crowds to see cadavers dissected at the theatre in Dresden, Germany were so large that they started having “ladies only” viewings, during which the women were invited to touch the corpses.

In many countries, these viewings only happened three or four times a year due to a lack of available bodies. In Bologna, Italy, dissections became fancy events, with women wearing their best clothes to the viewing, and balls or festivals followed in the evening.

Then in England in 1751, Parliament passed the Murder Act, allowing for all executed criminals to be publicly dissected. The increase in the number of public dissections did not diminish their popularity, and thousands of people continued to attend them each year until they were finally outlawed in the 1800s.

2. Watching People Inflate Balloons

Starting as early as the preparations for the first-ever hot air balloon flight in 1783, watching balloon ascents was incredibly popular, drawing some of the biggest crowds ever seen in Europe. Even the filling of the first balloon, which took numerous days, drew such huge crowds that they were in danger of interfering with the process, and the balloon had to be secretly moved the day before the flight. Benjamin Franklin, then the American Ambassador to the court of Louis XVI, was among the thousands of people who witnessed the first unmanned flight in Paris on August 27th. When the balloon came down in a village a few miles away, the locals were so terrified that they attacked it with pitchforks and rocks, destroying it.

The Montgolfier brothers sent the first living creatures (a goat, a duck, and a rooster) up in a balloon at Versailles in front of an enormous crowd that included the King and Marie Antoinette. The first ascents with humans drew upwards of 400,000 people, or “practically all the inhabitants of Paris,” with many of them paying large sums to be in special “VIP sections” close to the balloon.

The first hot air balloon flight in England was orchestrated by a man named Vincenzo Lunardi and drew a crowd of 200,000 people, including the Prince of Wales. One woman in the crowd was so astonished at the sight of the balloon that she supposedly died of fright and Lunardi was tried for her murder; he was eventually acquitted. George Washington was part of the crowd that viewed the first ballooning attempt in America in 1793.

Despite the overwhelming public interest in ballooning, it, like everything always will, had some detractors. Among their biggest fears were that women’s “honor and virtue would be in continual peril if access could be got by balloons at all hours to [their bedroom windows.]”

3. Riding Escalators

Image credit: Brooklyn Museum

The first escalators completely blew people’s minds. Nothing remotely similar had ever been seen before. Jesse W. Reno patented his idea for an “Endless Conveyor or Elevator” (later called the "inclined elevator") in 1892, and by 1896 the first working example had been installed…as a ride at the popular Coney Island amusement park.

It differed from modern elevators in that you sat on slats rather than stood on stairs, but the general principle was the same. The belt moved the riders up about two stories at a 25 degree incline. It was only displayed at the park for two weeks, but in that short time an astonishing 75,000 people rode it.

The same prototype was moved to the Brooklyn Bridge for a month-long trial period. It remained popular there, and in 1900 was shipped to Europe and displayed at the Paris Exposition Universelle, where it won first prize. Shortly thereafter, the Otis Company bought Reno’s patent and started producing escalators for businesses.

The novelty and excitement of riding an escalator was such that in 1897, the first department store in New York City to install one, Frederick Loeser, actually included it in its advertisements, promising customers that they could reach the second floor in a mere 26 seconds!

But while these escalators were very popular, they all had something in common: They only went up. It took the public and businesses almost three decades to accept that the far more frightening down escalators were safe to use.

4. Taking Pictures of Themselves

While there were different versions of photo booths starting in the late 1800s, they didn’t produce great pictures. The beginning of the modern photo booth is usually traced to one man, a Russian immigrant named Anatolo Josepho. He trained as a photographer in Europe and after a spell in Hollywood learning the mechanics of cameras, he moved to New York City. There he managed to borrow the astonishing sum of $11,000 to make his first photo booth. It produced clear pictures and could run completely on its own. He opened a studio on Broadway in 1925, put the photo booth inside, and sat back to watch the money roll in.

For 25 cents, customers were led to the box by a “white-gloved attendant,” who would then direct them to “look to the right, look to the left, look at the camera.” Then after about ten minutes, the booth spit out eight photos and the customers went away happy. They probably told all their friends to check it out — and check it out they did. Soon, the line to the studio was stretching around the block, and up to 7,500 people a day used the machine. According to the April 1927 issue of TIME, more than 280,000 people visited the photo booth in the first six months alone, including the Governor of New York and at least one Senator.

Within a year, Josepho was astonishingly wealthy and dating a famous silent film actress. Then a consortium of investors offered to buy his patent for $1 million. He accepted the deal, and immediately put half of that money into a trust for various charities. He invested the other half in several inventions.

Imitation photo booth studios popped up around the US and Europe, and even the Great Depression didn’t diminish people’s desire to look at pictures of themselves. One shop owner in NYC was so busy he managed to keep his entire extended family employed for the entire Depression.

5. Staring at Quintuplets

At the time of the Dionne Quintuplets' birth in 1934, in Ontario, Canada, no one even knew conceiving five babies at once was possible. Not only was it possible, but babies Yvonne, Annette, Cecile, Emilie, and Marie thrived despite being delivered two months premature. Their existence was so astonishing that newspapers paid huge sums for photos of them. A year later their father signed a lucrative contract to display the girls at the 1935 Chicago World’s Fair.

The Canadian government stepped in, claiming that their parents were obviously not fit to raise the quints if they were willing to exploit them like that. The Canadian parliament quickly passed a bill making the girls wards of the state. The quints were placed in a hospital/nursery directly across the street from their parents, where the Canadian and Ontario government proceeded to exploit the girls themselves, to an astonishing degree.

© Bettmann/CORBIS

In less than a decade, 3 million people, sometimes upwards of 3,000 a day, passed through “Quintland,” as the compound the girls were held in became known. This was at a time when the entire population of Canada was only around 11 million. Visitors viewed the quints playing, eating, and sleeping through special one-way windows. The quints were by far the most popular tourist attraction in Canada, drawing more visitors than Niagara Falls. It is estimated that the girls’ popularity directly contributed half a billion dollars to the Ontario economy in just nine years. Celebrities flocked to see them as well, including Amelia Earhart, Clark Gable, James Stewart, Bette Davis, James Cagney, Mae West, and the future Queen Elizabeth II.

And in case any particularly sharp readers are saying to themselves, “Surely televisions have been commercially available since the late 1920s,” don’t worry. Canada didn’t start broadcasts until 1952, nine years after Quintland closed. By that time, the girls had been returned to their family.

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© 2002 Twentieth Century Fox
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20 Things You Might Not Have Known About Firefly
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© 2002 Twentieth Century Fox

As any diehard fan will be quick to tell you, Firefly's run was far, far too short. Despite its truncated run, the show still offers a wealth of fun facts and hidden Easter eggs. On the 15th anniversary of the series' premiere, we're looking back at the sci-fi series that kickstarted a Browncoat revolution.

1. A CIVIL WAR NOVEL INSPIRED THE FIREFLY UNIVERSE.

The Pulitzer Prize-winning novel The Killer Angels from author Michael Shaara was Joss Whedon’s inspiration for creating Firefly. It follows Union and Confederate soldiers during four days at the Battle of Gettysburg during the American Civil War. Whedon modeled the series and world on the Reconstruction Era, but set in the future.

2. ORIGINALLY, THE SERENITY CREW INCLUDED JUST FIVE MEMBERS.

When Whedon first developed Firefly, he wanted Serenity to only have five crew members. However, throughout development and casting, Whedon increased the cast from five to nine.

3. REBECCA GAYHEART WAS ORIGINALLY CAST TO PLAY INARA.

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Before Morena Baccarin was cast as Inara Serra, Rebecca Gayheart landed the role—but she was fired after one day of shooting because she lacked chemistry with the rest of the cast. Baccarin was cast two days later and started shooting that day.

4. NEIL PATRICK HARRIS WAS ALMOST DR. SIMON TAM.

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Before it went to Sean Maher, Neil Patrick Harris auditioned for the role of Dr. Simon Tam.

5. JOSS WHEDON WROTE THE THEME SONG.

Whedon wrote the lyrics and music for Firefly’s opening theme song, “The Ballad of Serenity.”

6. STAR WARS SPACECRAFT APPEAR IN FIREFLY.

Star Wars was a big influence on Whedon. Captain Malcolm Reynolds somewhat resembles Han Solo, while Whedon used the Millennium Falcon as inspiration to create Serenity. In fact, you can spot a few spacecraft from George Lucas's magnum opus on the show.

When Inara’s shuttle docks with Serenity in the pilot episode, an Imperial Shuttle can be found flying in the background. In the episode “Shindig,” you can see a Starlight Intruder as the crew lands on the planet Persephone.

7. HAN SOLO FROZEN IN CARBONITE POPS UP THROUGHOUT FIREFLY.

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Nathan Fillion is a big Han Solo fan, so the Firefly prop department made a 12-inch replica of Han Solo encased in Carbonite for the Canadian-born actor. You can see the prop in the background in a number of scenes.

8. ALIEN'S WEYLAND-YUTANI CORPORATION MADE AN APPEARANCE.

In Firefly’s pilot episode, the opening scene features the legendary Battle of Serenity Valley between the Browncoats and The Union of Allied Planets. Captain Malcolm Reynolds takes control of a cannon with a Weyland-Yutani logo inside of its display. Weyland-Yutani is the large conglomerate corporation in the Alien film franchise. (Whedon wrote Alien: Resurrection in 1997.)

9. ZAC EFRON'S ACTING DEBUT WAS ON FIREFLY.

A 13-year-old Zac Efron made his acting debut in the episode “Safe” in 2002. He played Young Simon in a flashback.

10. CAPTAIN MALCOLM REYNOLDS'S HORSE IS A WESTERN TROPE.

At its core, Firefly is a sci-fi western—and Malcolm Reynolds rides the same horse on every planet (it's named Fred).

11. FOX AIRED FIREFLY'S EPISODES OUT OF ORDER.

Fox didn’t feel Firefly’s two-hour pilot episode was strong enough to air as its first episode. Instead, “The Train Job” was broadcast first because it featured more action and excitement. The network continued to cherry-pick episodes based on broad appeal rather than story consistency, and eventually aired the pilot as the show’s final episode.

12. THE ALLIANCE'S ORIGINS ARE AMERICAN AND CHINESE.

The full name of The Alliance is The Anglo-Sino Alliance. Whedon envisioned The Alliance as a merger of American and Chinese government and corporate superpowers. The Union of Allied Planets’ flag is a blending of the American and Chinese national flags.

13. THE SERENITY LOUNGE SERVED AS AN ACTUAL LOUNGE.

Between set-ups and shots, the cast would hang out in the lounge on the Serenity set rather than trailers or green rooms.

14. INARA SERRA'S NAME IS MESOPOTAMIAN.

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Inara Serra is named after the Mesopotamian Hittite goddess, the protector of all wild animals.

15. THE CHARACTERS SWORE (JUST NOT IN ENGLISH).

The Firefly universe is a mixture of American and Chinese culture, which made it easy for writers to get around censors by having characters swear in Chinese.

16. THE UNIFORMS ARE RECYCLED FROM STARSHIP TROOPERS.

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The uniforms for Alliance officers and soldiers were the costumes from the 1997 science fiction film Starship Troopers. The same costumes were repurposed again for the Starship Troopers sequel.

17. "SUMMER!" MEANS SOMEONE MESSED UP.

Every time a cast member flubbed one of his or her lines, they would yell Summer Glau’s name. This was a running gag among the cast after Glau forgot her lines in the episode “Objects In Space.”

18. THE SERENITY SPACESHIP WAS BUILT TO SCALE.

The interior of Serenity was built entirely to scale; rooms and sections were completely contiguous. The ship’s interior was split into two stages, one for the upper deck and one for the lower. Whedon showed off the Firefly set in one long take to open the Serenity movie.

19. "THE MESSAGE" SHOULD HAVE BEEN THE SHOW'S FAREWELL.

Although “The Message” was the twelfth episode, it was the last episode filmed during Firefly’s short run. Composer Greg Edmonson wrote a piece of music for a funeral scene in the episode, which served as a final farewell to the show. Sadly, it was one of three episodes (the other two were “Trash” and “Heart of Gold”) that didn’t air during Firefly’s original broadcast run on Fox.

20. FIREFLY AND SERENITY WERE SENT TO THE INTERNATIONAL SPACE STATION.

American Astronaut Steven Ray Swanson is a big fan of Firefly, so when he was sent to the International Space Station for his first mission (STS-117) in 2007, he brought DVD copies of Firefly and its feature film Serenity aboard with him. The DVDs are now a permanent part of the space station’s library.

This post originally appeared in 2014.

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10 Hush-Hush Facts About L.A. Confidential
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On this day 20 years ago, a rising star director, a writer who thought he’d never get the gig, and a remarkable cast got together to make a film about the corrupt underbelly of 1950s Los Angeles, and the men and women who littered its landscape. This was L.A. Confidential, a film so complex that its creator (legendary crime writer James Ellroy) thought it was “unadaptable.” In the end, it was one of the most acclaimed movies of the 1990s, a film noir classic that made its leading actors into even bigger stars, and which remains an instantly watchable masterpiece to this day. Here are 10 facts about how it got made.

1. THE SCRIPTING PROCESS WAS TOUGH.

Writer-director Curtis Hanson had been a longtime James Ellroy fan when he finally read L.A. Confidential, and the characters in that particular Ellroy novel really spoke to him, so he began working on a script. Meanwhile, Brian Helgeland—originally contracted to write an unproduced Viking film for Warner Bros.—was also a huge Ellroy fan, and lobbied hard for the studio to give him the scripting job. When he learned that Hanson already had it, the two met, and bonded over their mutual admiration of Ellroy’s prose. Their passion for the material was clear, but it took two years to get the script done, with a number of obstacles.

"He would turn down other jobs; I would be doing drafts for free,” Helgeland said. “Whenever there was a day when I didn't want to get up anymore, Curtis tipped the bed and rolled me out on the floor."

2. IT WAS ORIGINALLY INTENDED AS A MINISERIES.

When executive producer David Wolper first read Ellroy’s novel, he saw the dense, complex story as the perfect fodder for a television miniseries, and was promptly turned down by all the major networks at the time.

3. JAMES ELLROY DIDN’T THINK THE BOOK COULD BE ADAPTED.

Though Wolper was intrigued by the idea of telling the story onscreen, Ellroy and his agent laughed at the thought. The author felt his massive book would never fit on any screen.

“It was big, it was bad, it was bereft of sympathetic characters,” Ellroy said. “It was unconstrainable, uncontainable, and unadaptable.”

4. CURTIS HANSON SOLD THE FILM WITH CLASSIC LOS ANGELES IMAGES.

To get the film made, Hanson had to convince New Regency Pictures head Arnon Milchan that it was worth producing. To do this, he essentially put together a collage of classic Los Angeles imagery, from memorable locations to movie stars, including the famous image of Robert Mitchum leaving jail after his arrest for using marijuana.

"Now you've seen the image of L.A. that was sold to get everybody to come here. Let's peel back the image and see where our characters live,” Hanson said.

Milchan was sold.

5. KEVIN SPACEY WAS ON HANSON’S WISH LIST FOR YEARS.

Though the other stars of the film were largely discoveries of the moment, Kevin Spacey was apparently someone Hanson wanted to work with for years. Spacey described Hanson as a director “who’d been trying for years and years and years to get me cast in films he made, and the studio always rejected me.” After Spacey won an Oscar for The Usual Suspects, Hanson called the actor and said “I think I’ve got the role, and I think they’re not gonna say no this time.”

6. SPACEY’S CHARACTER IS BASED ON DEAN MARTIN.

Warner Bros.

Though he cast relative unknowns in Russell Crowe and Guy Pearce, Hanson wanted an American movie star for the role of Jack Vincennes, and decided on Kevin Spacey. In an effort to convince Spacey to take the role, Hanson invited him to dine at L.A.’s famous Formosa Cafe (where scenes in the film are actually set). While at the cafe, Spacey asked a vital question:

“If it was really 1952, and you were really making this movie, who would you cast as Jack Vincennes? And [Hanson] said ‘Dean Martin.’”

At that point, Spacey looked up at the gallery of movie star photos which line the cafe, and realized Martin’s photo was right above him.

“To this day, I don’t know whether he sat us in that booth on purpose, but there was Dino looking down at me,” Spacey said.

After his meeting with Hanson, Spacey watched Martin’s performances in Some Came Running (1958) and Rio Bravo (1959), and realized that both films featured characters who mask vulnerability with a layer of cool. That was the genesis of Jack Vincennes.

7. HANSON CHOSE MUCH OF THE MUSIC BEFORE FILMING.

To help set the tone for his period drama, Hanson began selecting music of the early 1950s even before filming began, so he could play it on set as the actors went to work. Among his most interesting choices: When Jack Vincennes sits in a bar, staring at the money he’s just been bribed with, Dean Martin’s “Powder Your Face With Sunshine (Smile! Smile! Smile!)” plays, a reference to both the character’s melancholy, and to Spacey and Hanson’s decision to base the character on Martin.

8. THE CINEMATOGRAPHY WAS INSPIRED BY ROBERT FRANK PHOTOGRAPHS.

To emphasize realism and period accuracy, cinematographer Dante Spinotti thought less about the moving image, and more about still photographs. In particular, he used photographer Robert Frank’s 1958 collection "The Americans" as a tool, and relied less on artificial light and more on environmental light sources like desk lamps.

"I tried to compose shots as if I were using a still camera,” Spinotti said. “I was constantly asking myself, 'Where would I be if I were holding a Leica?' This is one reason I suggested shooting in the Super 35 widescreen format; I wanted to use spherical lenses, which for me have a look and feel similar to still-photo work.”

9. THE FINAL STORY TWIST IS NOT IN THE BOOK.

Warner Bros.

[SPOILER ALERT] In the film, Jack Vincennes, Ed Exley, and Bud White are all chasing a mysterious crime lord known as “Rollo Tomasi,” who turns out to be their own LAPD colleague, Dudley Smith (James Cromwell). Though Vincennes, Exley, and White are all native to Ellroy’s novel, the Tomasi name is entirely an invention of the film.

10. ELLROY APPROVED OF THE MOVIE.

To adapt L.A. Confidential for the screen, Hanson and Helgeland condensed Ellroy’s original novel, boiling the story down to a three-person narrative and ditching other subplots so they could get to the heart of the three cops at the center of the movie. Ellroy, in the end, was pleased with their choices.

“They preserved the basic integrity of the book and its main theme, which is that everything in Los Angeles during this era of boosterism and yahooism was two-sided and two-faced and put out for cosmetic purposes,” Ellroy said. “The script is very much about the [characters'] evolution as men and their lives of duress. Brian and Curtis took a work of fiction that had eight plotlines, reduced those to three, and retained the dramatic force of three men working out their destiny. I've long held that hard-boiled crime fiction is the history of bad white men doing bad things in the name of authority. They stated that case plain.”

Additional Sources:
Inside the Actors Studio: Kevin Spacey (2000)

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