Family: Titanus Chiroptera
Name: Bagorah and Korghan, Lord of Bats (Bagorah) and Lady of Night (Korghan)
Species: Super Fauna
Height: 239.6 feet/73 meters (Bagorah), 200.2 feet/61 meters (Korghan)
Length: 918.8 feet/280 meters (Bagorah), 459.4 feet/140 meters (Korghan)
Wingspan: 1377.11 feet/420 meters (Bagorah), 1148.4 feet/350 meters (Korghan)
Weight: 49,000 tons (Bagorah), 34,000 tons (Korghan)
Class: Alpha-Omega (Bagorah), Alpha (Korghan)
Aggression: Very high (Bagorah), Medium (Korghan)
Territory: mainly mountainous region of Skull Island Minor’s interior, but will occasionally roost in the mountains of Skull Island Major during the harsh dry seasons that hit the island chain from time to time
Rivals: Showa Godzilla, Millennium Godzilla, Gorgo, Anguirus, Mothra, Rodan, Gamera and Leora
Allies: each other, most amoeba-mutated Titans, Battra, Sasori, Yog and Hitodah
Main weapon: concentrated blasts of sonic waves capable of rendering concrete to dust and flesh to paste if strong enough
Notes:
•though much attention and research has been devoted to the Titans and their sometimes climactic appearances and struggles with one another, the creatures that followed them into the limelight, nicknamed Mega Fauna, were just as important due to their crucial impact on the global ecosystem. Many have feared that the introduction of so many new species could irreversibly damage the stability of the environment and send it into a downward spiral if left alone, and have so called for a systematic extermination of the Mega Fauna on the surface. Just as many have decried such notions as fear mongering, however, and instead suggest introducing measures to naturally curb and control the population growth of the newly discovered creatures; the bats that would become Bagorah and Korghan were to be one such attempted measure of control. Created by the biologist Zaphen Crumwell, these new bats were to act as a sort of microbat for regions dominated by the Mega Fauna and the plants and fruits that have followed in their wake. In particular, they were to feed on the invertebrates and fruit that were growing in abundance in tropical regions of the world; as such, they were spliced with hammerhead bat, common and white-winged vampire bat, little brown bat, and large flying fox to give them both a sufficient size and a wide range of diet that was to ensure that they wouldn’t starve during early lean years. A mating pair was thus created to study their affects in a controlled environment and see how well they adapt to their environment and how they would cope with the pressures they might face. Unfortunately, the secure research facility that they were contained in was attacked and destroyed by an unknown party, releasing the one entity most feared by the staff: the Yog. When the Yog searched for a suitable host, it found the pair instead. With no other option, the Yog infected the two despite their screeches playing havoc on him. As they mutated and grew in stature, Yog mutated and grew a certain immunity to sonic waves up to a point. After they finished growing, the two new Titans were ravenous, so Yog commanded them to devour nine entire costal villages before raiding a nuclear plant in the dead of night so that they had enough energy for the long voyage. After roosting in an isolated cavern nearby, Bagorah and Korghan then proceeded to make a journey across the North Atlantic Ocean, attacking and sinking ships of all sizes along the way. As the US Navy scrambled to search for the cause of so many sinking vessels, Bagorah and Korghan land in Miami, Florida and go on a devastating rampage that levels multiple areas of the city and kill many people. Under the directions of Yog, Bagorah and Korghan move towards the largest concentration of animal life that was closest to their position: Greater Miami Zoo. Once there, they proceed to infect as many animals as they could, creating an army of Super Fauna under the control of the Space Amoeba. Once this was completed, they then went on the march, following the coast and moving towards South America and the amazon rainforest, on of the largest and richest ecosystems in the world. Fortunately for mankind, this doomsday army was halted at the city of Galveston by a coalition of Titans led by Showa Godzilla and Gorgo. While the other amoeba-controlled mutants were bogged down by the other Titans, Bagorah and Korghan fought the Gojiras and Gorgo directly. The fight was long and brutal, both sides dealing harsh blows that knocked any unwary mutant that strayed too close unconscious. When Gorgo was isolated and pinned down, Bagorah and Korghan feasted on his blood, unable to resist their primal instincts anymore. The intake of DNA caused Yog to experience a sudden, uncontrollable series of mutations that left both mutant Titans paralyzed. All the sudden, every piece of the Space Amoeba left the bodies of every single mutant Titan present and converged upon the two pieces that were formerly within Bagorah and Korghan, taking the form that Yog keeps to this day. Resuming his own battle, Yog viciously fought with the trio while the two bat Titans watched on from their perches on a couple of skyscrapers. Though now free from Yog’s direct influence, they still felt a kinship with him and were conflicted over whether or not they should flee the scene to lick their wounds. By the time Yog had been defeated and sent scurrying into the hollow earth, however, Bagorah and Korghan had long since fled back across the ocean and further east, never truly stopping until they reached their current location. Bagorah and his mate rarely leave their location, only doing so when summoned by either Battra or Yog or when they seek larger prey beyond their island.
•of the two, Bagorah is by far more aggressive and hotheaded than Korghan, preferring to get into the thick of it and crack some skulls open and use brute force to solve any issues. Korghan, on the other hand, is more level headed and prefers to either outthink her opponent or use diplomacy to avoid conflict outright; caution should still be taken, however, for she’s just as dangerous as her mate, with faster attacks and movements due to her smaller size and lighter build. Amongst their allies in Battra’s alliance, some would be shocked to learn that they are the most consistent and reliable heavy hitters of them all when it has the likes of Kumonga, Tlanusi and Sasori. In practice, however, things are much different: Kumonga is usually too indifferent to the plight of nature, Tlanusi is usually deep asleep and unable to be roused by anyone, and Sasori is too much of a wild card to be relied upon for any period of time. Once Bagorah and Korghan are committed to a task or goal, however, they will stick to it to the bitter end, no matter how long it takes. This, combined with their desire to actually support and sustain the world’s ecosystem, makes them consistent and reliable allies for Battra to call upon any time he needs to. The only thing that somewhat sours their relationship with each other is Bagorah and Korghan’s ravenous appetite that repeatedly see them get into conflict with Titans on the other islands when chasing down larger prey. This, combined with their habit to periodically deplete their island of large prey, has caused them to be a lesser thorn in the sides of Battra and Monarch, who seek to maintain a stable population of Mega Fauna on the Skull Island chain.
•of the two, Bagorah is the most likely of the two to leave the island and wonder around the world to explore, his sense of curiosity driving him to seek new things to discover and map out. Such curiosity has often led him to get into all sorts of trouble, which usually involves him brawling with other Titans when he unintentionally enters their territory. He’s seen the most fights with Venria, Zeus and Tiamat, since Bagorah has an undying hatred for those who have such an insufferable and arrogant personality and abrasive attitude. It has gotten to the point that Bagorah seems to go out of his way to goad them into a fight, using his ear-piercing, sonic screeches to taunt and harass them until they either attack or retreat into a spot out of his range. Korghan, on the other hand, seems to mostly stick to the island entirely, patrolling its shores and keeping any wondering Titans away with her piercing shrieks when they get too close. The only times she ever leaves the island for extended periods of time are when Battra calls upon her for help or Bagorah manages to successfully coax her into joining him on one of his exploration journeys into the hollow earth and usually ends with both of them brawling with an enraged Titan that Bagorah had unwisely taunted and goaded until they snapped. Despite her very apparent anger towards her mate whenever this happens, Korghan seems to be willing to forgive Bagorah every single time. Despite their clashing personalities, differences and demeanors, however, the two are very loyal towards one another and have rebuffed multiple attempts by other bat Titans to court them. In fact, it’s Korghan who seems to act more aggressively towards other female bat Titans that try to court Bagorah than he does towards male Titans. This interesting quirk is still under study, but it has been theorized by the more conspiracist researchers that Bagorah secretly enjoys the attention he gets and is ashamed of it, which drives Korghan into a frenzy to protect her mate and save him from such uncomfortable situations.
•despite two of the bats that went into their genetic makeup being fruit eaters, the vampire bat and little brown bat within their makeup was amplified and further enhanced by Yog have caused them to become obligate carnivores, ingesting fruit, seeds and other plant matter in order to supplement their diet. Their main source of prey are Megapedes, Water-Vipers, Lesser Goliath Krakens and Skull Crawlers, with sauropods and other creatures of similar mass sometimes being preyed upon if there are no other sources of nutrients available. Megapedes, in particular, are amongst their favorites because they can use the creature’s naturally occurring toxins as a deterrent for skin parasites by rubbing it in their fur, wings, tail and face. Their most preferred prey, however, is the Lesser Goliath Kraken due its sheer bulk and the ease of preserving it in one of the salt-filled caves that they like to frequent. In fact, when researchers explored one of these caverns whilst Bagorah and Korghan were away on one of their explorations of the hollow earth, they discovered dozens of well preserved Lesser Goliath Krakens that showed signs of being casually nibbled upon and consumed; when taking samples to see how long they were preserved, they were startled to discover that the oldest carcass dated back to late 1999, just over ten years ago. This has led to Monarch researching into the preservation properties of the salt caverns of Skull Island Minor to see what could preserve dead matter so perfectly that they look like they were just killed a few days ago. Recently, however, such potentially groundbreaking research has been halted due to drastic changes in the two Titans.
•behavior of the two bat Titans has completely changed, leaving Monarch both confused and suspicious. It has been noted that Korghan has been sticking to the valley that she and Bagorah roost in the mountain range exclusively, picking up trees and other such shrubbery with a delicateness unseen before and taking them back to their main cavern. The only documentation that they could get before they were chased off by Bagorah was that it appears that she’s building a nest of some sort, using the tree trunks to build a crude wall and using the leaves and branches to create a soft (for them) bedding. The last sighting Monarch has received from the outpost station has noted that Korghan has put on not insignificant amount of weight, and seems to have grown to prefer skulking along the ground in a loping gate instead of flying, which may tie in to her weight gain. Bagorah seems to have done a 180 on some of his behavior, becoming much more reclusive and reluctant to leave the island unless it’s to chase sufficiently large prey; he now spends his days aggressively patrolling the shores of the island, the entrances to the mountainous region and the island’s single entrance to the hollow earth when he’s not excessively hunting prey of any sufficiently large size down and taking it to their roost, only to do it again immediately after. It has gone on for long enough that he’s been spotted boldly raiding territories that he once avoided in order to hunt their plentiful stocks of Mega Fauna and take them back to their caverns. More alarming about the change in Bagorah’s behavior in that he has become increasingly aggressive and suspicious towards any Titans or human craft of any kind that shows even a hint towards going to the island. A few much lesser Titans have even been found to have been ruthlessly attacked and killed by Bagorah, their bodies missing chunks of themselves that were taken by Bagorah himself as food. Things escalated slightly when a few freighters were found in ruins near the island’s coast, everything of even the remotest value was destroyed, though the crews were lucky to escape with only moderate injuries. Though the companies that owned those freighters had lobbied heavily for military action against Bagorah for the economic loss sustained by his attacks, Monarch was able to get it vetoed by pointing out the recent collapse of his paths of patrolling to only the mountainous region of the island. This has also allowed Monarch to regain communications with their outposts, who have reported that Bagorah himself now rarely leaves the surrounding valleys that connect to their roost and has blocked off the other entrances to the main cavern besides one that is easily defendable. Though some more aggressive personnel have suggested that they crack open the cavern and see what is going on, Ishirō Serizawa, now head of Monarch after the arrest of the previously head after their arrest due to their part in the attempted recreation of the Oxygen Destroyer, vetoed it on the grounds of just how a bad idea it was to do so and ordered that they be monitored for any changes to their behavior and movements. Time will only tell if his hunch is correct or not…

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Here's a new edition of "Directors at the Box Office", which seeks to explore the directors' trajectory at the box office and analyze their hits and bombs. I already talked about a few, and as I promised, it's Richard Donner's turn.
Initially, Donner wanted to develop a career as an actor. He gained a bit part in a television program directed by Martin Ritt, who encouraged Donner to become a director instead, and he hired Donner as his assistant. Through his connections in Desilu, he started directing commercials. In the 60s, he transitioned into television, directing episodes for shows like The Twilight Zone, The Fugitive, The Man from U.N.C.L.E., Get Smart, and Gilligan's Island. Afterwards, he had his chance to direct films.
From a box office perspective, how reliable was he to deliver a box office hit?
That's the point of this post. To analyze his career.

It should be noted that as he started his career in the 1960s, the domestic grosses here will be adjusted by inflation. The table with his highest grossing films, however, will be left in its unadjusted form, as the worldwide grosses are more difficult to adjust.

X-15 (1961)

"Actually filmed in space!"
His directorial debut. It stars David McLean, Charles Bronson, James Gregory and Mary Tyler Moore, and presents a fictionalized account of the X-15 research rocket aircraft program, the test pilots who flew the aircraft, and the associated NASA community that supported the program.
There are no box office numbers available, but it is said that it had a short and poor theatrical run. Reviews were mixed, and Moore said she's not proud of the film.

Salt and Pepper (1965)

"Join the club."
His second film. It stars Sammy Davis Jr., Peter Lawford, Michael Bates, Ilona Rodgers and John Le Mesurier, and follows two nightclub owners finding themselves in trouble over a woman's death.
It received mixed reviews, and it earned $1.75 million in rentals.

• Budget: N/A.
  
• Domestic gross: $1,750,000 in rentals. ($17.4 million adjusted)
  
• Worldwide gross: $1,750,000.
  

Lola (1970)

"It may be love... but it's definitely exhausting!"
His third film. It stars Charles Bronson and Susan George, and follows a 38-year-old writer of pornographic novels who meets and falls in love with a sixteen-year-old school girl whilst living in London.
There are no box office figures, but you can be sure of something: it was panned by everyone.

The Omen (1976)

"If something frightening happens to you today, think about it."
His fourth film. It stars Gregory Peck, Lee Remick, David Warner, Harvey Spencer Stephens, Billie Whitelaw, Patrick Troughton, Martin Benson, and Leo McKern. The film's plot follows Damien Thorn, a young child replaced at birth by his father, unbeknownst to his wife, after their biological child dies shortly after birth. As a series of mysterious events and violent deaths occur around the family and Damien enters childhood, they come to learn he is in fact the prophesied Antichrist.
Producer Harvey Bernhard came up with the idea for a film about the Antichrist after talking with one of his friends. WB was on board, but they later pulled out, so 20th Century Fox agreed to distribute the film. Donner favored an ambiguous reading of the script under which it would be left for the audience to decide whether Damien was the Antichrist or whether the series of violent deaths in the film were all just a string of unfortunate accidents. Seltzer rejected the ambiguity favored by Donner and pressed for an interpretation of his script that left no doubt for the audience that Damien Thorn was the Antichrist and that all of the deaths in the film were caused by the malevolent power of Satan, the interpretation that Bernhard chose to go with.
There were some... dark stories over the making of the film. Some aren't confirmed, but others are verified. So take the following with huge grains of salt.
In September 1975, Peck was flying to London, and during the flight, lightning struck the plane. Shortly after, executive producer Mace Neufeld's plane was also struck by lightning while en route to Los Angeles. That's twice in a span of only a few weeks. Then, writer David Seltzer's plane was also struck by lightning. And, while filming in Rome, lightning narrowly missed striking Bernhard. Lightning may never strike twice, but four times, and to different people whose only six degrees of separation at the time was The Omen? Oh, it gets even creepier. A scene was postponed, which meant Peck was not needed on the set, so a private jet that the crew was going to charter to bring Peck in was not necessary. The next day, it was reported that the plane they had intended to book hit a flock of birds and crashed, killing everyone on board.
Neufeld, probably already on edge after his plane was struck by lightning, was planning to eat at a restaurant nearby, but it was hit by an IRA bombing. The day after filming, the hotel that Donner had stayed at was also bombed.
John Richardson, the set designer, created a particularly macabre scene where a character dies from decapitation resulting from an automobile accident. While in Holland in August 1976, Richardson and his assistant, Liz Moore, were struck by a freakishly unfortunate fate. They fell victims to a head-on-collision, where Moore was cut in half, in similar fashion to the one Richardson had designed for the film. It happened in a Friday the 13th, near a road sign which says: “Ommen, 66.6 km.”
Does that send you shivers down your spine?
Is all of this true? I... I'm not sure. I don't fully believe it. But I also don't fully not believe it. Whatever the case, it's truly one of the most insane behind-the-scenes stuff.
After a slate of weak films, Donner finally got his big break here. The film earned $78 million worldwide, becoming a huge box office success. While it initially received mixed reviews, its reputation grew with time and it has been named as one of the best horror films of the 1970s. It would spawn a franchise, but Donner didn't return for the director's chair. Why? He was preparing for something super.

• Budget: $2,800,000.
  
• Domestic gross: $60,922,980. ($335.7 million adjusted)
  
• Worldwide gross: $78,722,980.
  

Superman (1978)

"You'll believe a man can fly."
His fifth film. Based on the DC Comics character, it stars Marlon Brando, Gene Hackman, Christopher Reeve, Jeff East, Margot Kidder, Glenn Ford, Phyllis Thaxter, Jackie Cooper, Trevor Howard, Marc McClure, Terence Stamp, Valerie Perrine, Ned Beatty, Jack O'Halloran, Maria Schell, and Sarah Douglas. It depicts the origin of Superman, including his infancy as Kal-El of Krypton, son of Jor-El, and his youthful years in the rural town of Smallville. Disguised as reporter Clark Kent, he adopts a mild-mannered disposition in Metropolis and develops a romance with Lois Lane while battling the villainous Lex Luthor.
Ilya Salkind had first conceived the idea for a Superman film in late 1973, and he bought the rights with his father Alexander the following year. DC wanted a list of actors that were to be considered for Superman, and approved the producer's choices of Muhammad Ali, Al Pacino, James Caan, Steve McQueen, Clint Eastwood and Dustin Hoffman. The filmmakers felt it was best to film Superman and Superman II back-to-back, and to make a negative pickup deal with Warner Bros. To show how serious he was, Alexander hired Mario Puzo (The Godfather) and paid him $600,000 to write the script.
Francis Ford Coppola, George Lucas, William Friedkin, Richard Lester, Peter Yates, John Guillermin, Ronald Neame and Sam Peckinpah were in negotiations to direct. Ilya wanted to hire Steven Spielberg to direct, but Alexander was skeptical, feeling it was best to "wait until [Spielberg's] big fish opens." His film, Jaws, became the highest grossing film ever, and the Salkinds offered him the job, but by that point Spielberg chose to make Close Encounters of the Third Kind instead. Guy Hamilton was hired, but left before filming due to legal issues. After seeing The Omen, the producers offered the job to Donner. He was planning to direct the Omen sequel, but decided to take Superman instead. Donner was dissatisfied with the campy script and brought in Tom Mankiewicz to perform a rewrite to start from scratch. According to Mankiewicz, "not a word from the Puzo script was used."
Before Donner signed, the film already cast Marlon Brando as Jor-El in 1975. And his terms were insane; top billing, a salary of $3.7 million and 11.75% of the box office gross profits (totaling $19 million), and his scenes had to be filmed in 12 days. He also refused to memorize his dialogue, so cue cards were compiled across the set. Hackman was cast as Lex Luthor days later, getting a $2 million salary. The filmmakers made it a priority to shoot all of Brando's and Hackman's footage "because they would be committed to other films immediately."
The first plan was for a famous star to play Superman, although Robert Redford, Burt Reynolds, Sylvester Stallone and Paul Newman all declined. When Donner signed, he decided to get an unknown actor. Reeve was suggested, but Donner and the producers felt he was too young and skinny. When other actors weren't convincing, they decided to give a screen test to Reeve. They wanted him to wear a muscle suit, but Reeve instead decided to take a strict physical exercise regime headed by David Prowse. After gaining enough weight, he was cast. Compared to Brando and Hackman, Reeve was paid just $250,000 for Superman and its sequel.
Filming began in March 1977, and it lasted 19 months because they were filming two films. The budget was $55 million ($303 million adjusted), which made it the most expensive film by that point. Warner Bros. only planned to distribute the film in North America, but was so impressed by the Krypton sequence, that they decided to distribute it worldwide. It was supposed to last eight months, but there were conflicts on set.
Donner had tensions with the Salkinds and producer Pierre Spengler concerning the escalating production budget and the shooting schedule. Richard Lester, who worked with the Salkinds on The Three Musketeers and The Four Musketeers, was then brought in as a temporary co-producer to mediate the relationship between Donner and the Salkinds, who by now were refusing to talk to each other. On his relationship with Spengler, Donner remarked, "At one time if I'd seen him, I would have killed him." Due to this, they decided to stop filming back-to-back with the sequel, and Donner was assigned to finish the first film. By that point, 75% was already shot by Donner.
The film opened with $7.4 million in its first weekend, despite playing at just 508 theaters, breaking a record for Warner Bros. As it expanded, it earned $10.3 million in its third weekend, which was the biggest weekend in history. Through the December 22-28 week, it earned a colossal $18.5 million, a figure that no film achieved in just 7 days. It eventually closed its domestic run with $134 million. And WB was right in believing in its worldwide prospects, as the film earned a huge $300 million, becoming their highest grossing film.
The film also received critical acclaim, and it has been named as one of the best films of the 1970s. It won a Special Oscar for its Visual Effects. The film was deemed a cultural landmark for comic books, and it has been proclaimed by many as perhaps the most influential comic book film ever. For the world finally believed that, indeed, a man could fly.
With this, Superman was finally an icon on the big screen. While Donner filmed 75% of Superman II, he was controversially fired before resuming his duties. There would be more Superman films in subsequent years (including one next year), but none have captured the cultural zeitgeist that this one achieved.

• Budget: $55,000,000.
  
• Domestic gross: $134,478,449. ($646.7 million adjusted)
  
• Worldwide gross: $300,478,449.
  

Inside Moves (1980)

"It'll make you feel good, and that ain't bad."
His sixth film. Based on the novel by Todd Walton, it stars John Savage, David Morse, Diana Scarwid, and Amy Wright. It follows a man who became crippled after a failed suicide attempt, and he turns to drink, favoring a local dive bar frequented by the handicapped. There, he befriends the bartender, an ex-basketball player saving up for corrective surgery in hopes of returning to the court, and meets a kind young lady who aids him with his physical and mental rehabilitation.
Donner states that he agreed to direct the film only to take his mind off being fired and replaced from Superman II. He referred to the film as "the smallest film I could do that was just very near and dear to me, at that point, and I felt this is going to take my mind totally off that."
It received mixed reviews, and made just $1.2 million at the box office.

• Budget: N/A.
  
• Domestic gross: $1,200,000. ($4.5 million adjusted)
  
• Worldwide gross: $1,200,000.
  

The Toy (1982)

"When Jackie Gleason told his son he could have any present he wanted, he picked the most outrageous gift of all... Richard Pryor."
His seventh film. The film stars Richard Pryor, Jackie Gleason and Scott Schwartz, and follows a janitor at a department store. The owner's son is told that he may have anything in the toy department. He chooses the janitor, who the owner pays to spend a week with the boy.
The film was panned by critics, and was named as one of the worst films of the year. But with $47 million at the box office, it was still a success.

• Budget: $17,000,000.
  
• Domestic gross: $47,118,057. ($153 million adjusted)
  
• Worldwide gross: $47,118,057.
  

The Goonies (1985)

"Join the adventure."
His eighth film. The film stars Sean Astin, Josh Brolin, Jeff Cohen, Corey Feldman, Kerri Green, Martha Plimpton, Ke Huy Quan, John Matuszak, Anne Ramsey, Robert Davi, Joe Pantoliano and Mary Ellen Trainor. In the film, a group of kids who live in the "Goon Docks" neighborhood of Astoria, Oregon, attempt to save their homes from foreclosure and, in doing so, they discover an old treasure map that takes them on an adventure to unearth the long-lost fortune of One-Eyed Willy, a legendary 17th-century pirate. During the adventure, they are pursued by a family of criminals who want the treasure for themselves.
Donner noted both the difficulties and pleasures of working with so many child actors. He praised them for their energy and excitement, but also said that they were also unruly when brought together. While Donner is credited as the director, some have referred to producer Steven Spielberg as co-director.
The film received a great response, and after a slate of weak films, Donner bounced back with a much needed box office hit. The film was very influential, and it helped launch the careers of many of its stars.

• Budget: $19,000,000.
  
• Domestic gross: $63,711,145. ($185.6 million adjusted)
  
• Worldwide gross: $124,311,145.
  

Ladyhawke (1985)

"A magical adventure."
His ninth film. The film stars Matthew Broderick, Rutger Hauer and Michelle Pfeiffer. The story is about a young thief who becomes unwillingly involved with a warrior and his lady who are hunted by the Bishop of Aquila. As he learns about the couple's past and secret, he chooses to help them overcome the Bishop's forces, and to lift an infernal curse.
It received mixed reviews, and it failed to recoup its $20 million budget.

• Budget: $20,000,000.
  
• Domestic gross: $18,432,000. ($53.7 million adjusted)
  
• Worldwide gross: $18,432,000.
  

Lethal Weapon (1987)

"Two cops. Glover carries a weapon. Gibson is one. He's the only L.A. cop registed as a..."
His tenth film. It stars Mel Gibson, Danny Glover, Gary Busey, Tom Atkins, Darlene Love, and Mitchell Ryan. The film follows a pair of mismatched LAPD detectives — Martin Riggs, a former Green Beret who has become suicidal following the death of his wife, and veteran officer and family man Roger Murtaugh — who work together as partners.
Recent UCLA graduate Shane Black wrote the screenplay in mid-1985. Black stated that his intention was to do an "urban western" inspired by Dirty Harry where a violent character "reviled for what he did, what he is capable of, the things he believed in" is eventually recruited for being the one that could solve the problem. His first draft was quite different from the final film; it was darker in tone and it included massive action scale sequences. The ending of the script contained a chase scene with helicopters and a trailer truck full of cocaine exploding over Hollywood Hills with cocaine snowing over the Hollywood sign.
The script was rejected by some studios, but Warner Bros. took an interest. Producer Joel Silver was brought in and worked with Black to further develop the script. Donner also brought in writer Jeffrey Boam to do some uncredited re-writes on Black's script after he found parts of it to be too dark. Donner got Gibson involved, while someone else suggested Danny Glover. After a successful screen test, the film was greenlit.
The film was a huge hit, earning $120 million worldwide and continued launching the careers of Gibson and Glover, even if they already had a few recognizable titles by that point. It also received very positive reviews, and was another prime example of the buddy cop genre. Another Donner W.

• Budget: $15,000,000.
  
• Domestic gross: $65,207,127. ($179.9 million adjusted)
  
• Worldwide gross: $120,207,127.
  

Scrooged (1988)

"The spirits will move you in odd and hysterical ways."
His 11th film. Based on the novella A Christmas Carol by Charles Dickens, it stars Bill Murray, Karen Allen, John Forsythe, John Glover, Bobcat Goldthwait, Carol Kane, Robert Mitchum, Michael J. Pollard, and Alfre Woodard. The film is a modern retelling that follows Frank Cross, a cynical and selfish television executive who is visited by a succession of ghosts on Christmas Eve intent on helping him regain his Christmas spirit.
After Ghostbusters, Murray only took a brief appearance in Little Shop of Horrors and chose to take a break. When he did feel a desire to return to acting, he said the "scripts were just not that good", and he returned to the this project as he found the idea of making a funny Scrooge appealing. Murray was paid $6 million for his role. He helped the writers, Mitch Glazer and Michael O'Donoghue, in rewriting.
Murray struggled with a scene where he reveals his redemption live on TV. Wanting a central acting moment, however, Murray gave an emotional and intense performance, deviating from his marked positions and improvising his speech. Glazer and O'Donoghue thought that the actor was suffering a mental breakdown. After he was finished, the crew applauded Murray, but O'Donoghue remarked "What was that? The Jim Jones hour?" Donner turned and punched O'Donoghue in the arm, leaving him bruised for a week.
Despite the commitment, however, there was drama behind the scenes. Murray said that while he was enjoying the experience of the script and having fun as "the meanest person in the world", he found the production "sloppy" and has expressed unhappiness with the final cut. For his part, O'Donoghue later said that Donner did not understand comedy, omitting the script's subtler elements for louder and faster moments. He estimated that only 40% of his and Glazer's original script made it into the final film and the surviving content was "twisted". Murray was also not content with Donner, "Scrooged could have been a really, really great movie. The script was so good... He kept telling me to do things louder, louder, louder. I think he was deaf." Donner, meanwhile, has a much more positive memory of Murray, calling him "superbly creative but occasionally difficult - as difficult as any actor."
The film received polarizing reactions, particularly for the tone. But as it was Murray's follow-up to Ghostbusters, it made $100 million worldwide, making it a box office success. In subsequent years, it has become a Christmas classic.

• Budget: $32,000,000.
  
• Domestic gross: $60,328,558. ($159.8 million adjusted)
  
• Worldwide gross: $100,328,558.
  

Lethal Weapon 2 (1989)

"The magic is back."
His 12th film. The second installment in the Lethal Weapon franchise, it stars Mel Gibson, Danny Glover, Joe Pesci, Joss Ackland, Derrick O'Connor and Patsy Kensit. In the film, Martin Riggs and Roger Murtaugh protect an irritating federal witness, Leo Getz, while taking on a gang of South African drug dealers hiding behind diplomatic immunity.
After the first film's success, Joel Silver asked Shane Black to write a sequel. Although he was struggling with personal issues, Black still managed to write the first draft along with his friend, novelist Warren Murphy. Although many people thought that their script was brilliant, it was rejected by Silver, Donner and the studio for being too dark and bloody, and because in the ending of the script Riggs dies, while they wanted to keep him alive in case of further sequels. They also wanted the second film to focus more on comedy, while Black's draft focused more on courage and heroics, like Riggs willing to die to protect Murtaugh and his family, due to his love for them.
When his script was rejected, Black felt that he had failed the producers. Black refused to re-write the script and quit from the project after working for six months on it. Black later said how the problem with the second film was that they did too much comedy, and how he dislikes the third and fourth films because of the way Riggs's character was changed. Donner got Jeffrey Boam back to rewrite, and one of the biggest changes was expanding Leo Getz's character.
The film received very great reviews, and saw a big increase from the original, earning $227 million worldwide.

• Budget: $30,000,000.
  
• Domestic gross: $147,253,986. ($372.3 million adjusted)
  
• Worldwide gross: $227,853,986.
  

Radio Flyer (1992)

"Powered by imagination."
His 13th film. The film stars Lorraine Bracco, John Heard, Elijah Wood, Joseph Mazzello, Adam Baldwin, and Ben Johnson and is narrated by Tom Hanks. Two young boys try to transform their toy into an airplane after their stepfather turns abusive. They wish to escape the physical abuse and fly away to safety.
The film received negative reviews, and it barely got 10% of its budget. Luckily for Donner, he had another film for that year.

• Budget: $35,000,000.
  
• Domestic gross: $4,651,977. ($10.3 million adjusted)
  
• Worldwide gross: $4,651,977.
  

Lethal Weapon 3 (1992)

"The magic is back again."
His 14th film. The third installment in the Lethal Weapon franchise, it stars Mel Gibson, Danny Glover, Joe Pesci, Rene Russo, and Stuart Wilson. In the film, Martin Riggs and Roger Murtaugh pursue Jack Travis, a former LAPD lieutenant turned ruthless arms dealer, during the six days prior to Murtaugh's retirement. Riggs and Murtaugh are joined by Leo Getz as well as internal affairs Sergeant Lorna Cole.
Jeffrey Boam's first two drafts of the script were different from the final film. The character of Lorna for example was not a woman in original drafts, but the original character still had the same personality and was just as lethal and crazy as Riggs, making him his match. Riggs also had an affair with Roger's daughter Rianne, and a few parts in the final film where Roger suspects that Riggs and Rianne are interested in each other are only parts left from the original drafts. Donner demanded some big changes on the script which included changing the original character of Lorna into a woman and turning her into Riggs's girlfriend. He also re-worked the script to be less story-oriented and not focus on the main villains but instead on the relationship between Riggs and Murtaugh. He also toned down action scenes from the script and brought back Leo Getz into the story. All of his scenes were written in afterwards.
The film received mixed reviews and was considered as weaker than the previous films. But it still earned $320 million worldwide, becoming the highest grossing film in the franchise and Donner's highest grossing film (although Superman still has that title adjusted for inflation).

• Budget: $35,000,000.
  
• Domestic gross: $144,731,527. ($323.4 million adjusted)
  
• Worldwide gross: $321,731,527.
  

Maverick (1994)

"In their hands, a deck of cards was the only thing more dangerous than a gun."
His 15th film. Based on the 1957–1962 television series, it stars Mel Gibson, Jodie Foster and James Garner (who starred in the original series). The film follows Bret Maverick, a card player and con artist who collects money in order to enter a high-stakes poker game. He is joined in his adventure by Annabelle Bransford, another con artist, and Marshal Zane Cooper, a lawman.
The film received positive reviews, and was another great success at the box office, earning $183 million worldwide.

• Budget: $75,000,000.
  
• Domestic gross: $101,631,272. ($215 million adjusted)
  
• Worldwide gross: $183,031,272.
  

Assassins (1995)

"In the shadows of life, in the business of death, one man found a reason to live..."
His 16th film. The film stars Sylvester Stallone, Antonio Banderas, and Julianne Moore. Professional hit-man Robert Rath wants to fulfill a few more contracts before retiring but unscrupulous ambitious newcomer hit-man Miguel Bain keeps killing Rath's targets.
The film was panned by critics, and was a box office flop.

• Budget: $50,000,000.
  
• Domestic gross: $30,303,072. ($62.3 million adjusted)
  
• Worldwide gross: $83,306,268.
  

Conspiracy Theory (1997)

"Jerry Fletcher sees conspiracies everywhere... one has turned out to be true. Now his enemies want him dead. And she's the only one he can trust."
His 17th film. It stars Mel Gibson, Julia Roberts and Patrick Stewart, and centers on an eccentric taxi driver who believes many world events are triggered by government conspiracies, and the Justice Department attorney who becomes involved in his life.
The film received mixed reviews, and despite earning $137 million worldwide, it wasn't a box office success due to its high budget.

• Budget: $80,000,000.
  
• Domestic gross: $75,982,834. ($148.4 million adjusted)
  
• Worldwide gross: $136,982,834.
  

Lethal Weapon 4 (1998)

"The gang's all here."
His 18th film. The fourth and final installment in the Lethal Weapon franchise, it stars Mel Gibson, Danny Glover, Joe Pesci, Rene Russo, Chris Rock, and Jet Li. It follows Martin Riggs and Roger Murtaugh as they investigate a Chinese immigrant smuggling ring. A crime boss named Benny Chan leads them to the Chinatown.
Wanting another film in the franchise, Warner Bros. and Joel Silver tried buying a new spec script titled Simon Says in hopes of rewriting it into a script for Lethal Weapon 4. Written by Jonathan Hensleigh, the story was about a police detective and a shop owner forced to find and stop bombs planted all over a city as part of a mad bomber's revenge plot against the detective. 20th Century Fox then bought the script, and decided to use it as the basis for a new Die Hard film, Die Hard with a Vengeance. Donner was committed to another film, but Gibson was not interested.
The film had a very difficult pre-production, as the script was still being re-written and rejected. Silver ultimately brought in TV writer Channing Gibson to work on the script, after he was impressed by Gibson's rewrite of a spec script titled Sandblast. Gibson took the gig thinking it would be a more relaxed writing job than anything he did for TV. However, much like the previous two sequels, the script kept getting changed and rewritten over and over again. Gibson would end up doing more work and revisions on it than on all of his TV work put together. Production even started with only half of the script.
Something you might have noticed, is that the budget was far larger than the previous films. While the previous two films cost $30-$35 million, Lethal Weapon 4 had a budget of... $150 million ($288 million adjusted). Which means that at that point, it was the most expensive R-rated film ever and the third most expensive film, just behind Titanic and Waterworld. Why? Because the delays kept coming... but Warner Bros. was desperate in greenlighting the film. Realizing they had no big tentpole releases scheduled for summer 1998, Warner Bros. finally greenlit the film in late 1997. So they opened all their wallets and started shooting in January 1998, despite having one third of the film not written yet, including the ending. Due to issues during filming, including the script changes, production ended around mid May, less than two months before its scheduled July release. The ending was not written until it was finally time to film it. Editors had to work very quickly to have the film ready, which is why the trailers feature some deleted and alternate scenes which are not in the film. So the film was greenlit, filmed and released in theaters in the span of just 7 months.
The film received mixed reviews. And if Warner Bros. was confident that spending $150 million to rush a film was worth it, they were in for a rude awakening. The film earned just $285 million worldwide, which meant that the film was a box office flop.
It was the last film in the franchise. Although a gang in a pub in Philadelphia kept the spirit alive by making three sequels, one of which had Danny DeVito as the bad guy.

• Budget: $150,000,000.
  
• Domestic gross: $130,444,603. ($250.9 million adjusted)
  
• Worldwide gross: $285,444,603.
  

Timeline (2003)

"You're history."
His 19th film. Based on the novel by Michael Crichton, it stars Paul Walker, Frances O'Connor, Gerard Butler, Billy Connolly, David Thewlis, and Anna Friel. It follows a team of present-day archaeology and history students who are sent back in time to medieval France to rescue their professor from the middle of a battle.
The film was a critical and commercial failure.

• Budget: $80,000,000.
  
• Domestic gross: $19,481,943. ($33.1 million adjusted)
  
• Worldwide gross: $43,935,763.
  

16 Blocks (2006)

"1 Witness... 118 Minutes."
His 20th and final film. It stars Bruce Willis, Mos Def, and David Morse. The film unfolds in the real time narration method, and follows Jack, who is assigned the task of escorting Eddie, a witness, from police custody to the courthouse. However, when they are attacked on the way, Jack learns that the entire NYPD wants Eddie dead.
The film received mixed reviews, and it marked his fifth bomb in a row. It was his final film before his death in 2021.

• Budget: $52,000,000.
  
• Domestic gross: $36,895,141. ($57.3 million adjusted)
  
• Worldwide gross: $65,664,721.
  

MOVIES (FROM HIGHEST GROSSING TO LEAST GROSSING)

No.	Movie	Year	Studio	Domestic Total	Overseas Total	Worldwide Total	Budget
1	Lethal Weapon 3	1992	Warner Bros.	$144,731,527	$177,000,000	$321,731,527	$35M
2	Superman	1978	Warner Bros.	$134,478,449	$166,000,000	$300,478,449	$55M
3	Lethal Weapon 4	1998	Warner Bros.	$130,444,603	$155,000,000	$285,444,603	$150M
4	Lethal Weapon 2	1989	Warner Bros.	$147,253,986	$80,600,000	$227,853,986	$30M
5	Maverick	1994	Warner Bros.	$101,631,272	$81,400,000	$183,031,272	$75M
6	Conspiracy Theory	1997	Warner Bros.	$75,982,834	$61,000,000	$136,982,834	$80M
7	The Goonies	1985	Warner Bros.	$63,711,145	$60,600,000	$124,311,145	$19M
8	Lethal Weapon	1987	Warner Bros.	$65,207,127	$55,000,000	$120,207,127	$15M
9	Scrooged	1988	Paramount	$60,328,558	$40,000,000	$100,328,558	$32M
10	Assassins	1995	Warner Bros.	$30,303,072	$53,000,000	$83,306,268	$50M
11	The Omen	1976	20th Century Fox	$60,922,980	$17,800,000	$78,722,980	$2.8M
12	16 Blocks	2006	Warner Bros.	$36,895,141	$28,769,580	$65,664,721	$52M
13	The Toy	1982	20th Century Fox	$47,118,057	$0	$47,118,057	$17M
14	Timeline	2003	Paramount	$19,481,943	$24,453,820	$43,935,763	$80M
15	Ladyhawke	1985	Warner Bros. / 20th Century Fox	$18,432,000	$0	$18,432,000	$20M
16	Radio Flyer	1992	Columbia	$4,651,977	$0	$4,651,977	$35M
17	Salt and Pepper	1965	United Artists	$1,750,000	$0	$1,750,000	N/A
18	Inside Moves	1980	Associated Film Distribution	$1,200,000	$0	$1,200,000	N/A

He made 20 films, but only 18 have reported box office numbers. Across those 18 films, he made $2,146,151,267 worldwide. That's $119,230,625 per film.

The Verdict

Despite the inconsistency of his filmography, it's hard to deny Donner as a very influential figure of cinema.
He was an expert in handling many genres; you'd expect the director of The Goonies to make 4 Lethal Weapon films? Or that the guy who made The Omen would make Scrooged? Sure, his last films indicated that he might have lost it, but you can't blame him for trying. The fact that he was willing to make Lethal Weapon 5 before his death show he was very committed. He was never too old for this shit.
And of course, there's Superman. The film that changed comic book films as we know them. It wasn't the first, but it was perhaps the most influential. There's an argument that either Batman, The Dark Knight, Iron Man, The Avengers, Deadpool or Joker are more influential, but those films wouldn't exist today if it wasn't for Donner. It's why Kevin Feige shows the film to all the cast and crew before filming any MCU film. If the film was put in the careless hands of a mediocre director, it would've been forgotten almost immediately. And the genre would be very different today. So it's a testament to the strength of the film of how much it could change the landscape of what was possible. He and Christopher Reeve really offered something fresh and exciting. They truly made the world believe a man could fly.
Hope you liked this edition. You can find this and more in the wiki for this section.
The next director will be Ang Lee. A very important filmmaker.
I asked you to choose who else should be in the run and the comment with the most upvotes would be chosen. Well, we'll later talk about... Roland Emmerich. Is it Joever for him?
This is the schedule for the following four:

Week	Director	Reasoning
June 3-9	Ang Lee	What happened to Lee?
June 10-16	Zack Snyder	RIP Inbox.
June 17-23	Tony Scott	Action films have not been the same ever since his death.
June 24-30	Roland Emmerich	The King of disaster films.

Who should be next after Emmerich? That's up to you. But there's a catch.
For this week, you'll choose from four options, all picked by me. So we won't accept any other suggestions this week. I'll give you four directors, and the director with the most upvotes will get his own post. And here they are:

• Joe Dante: Like Donner, a very influential figure of the 70s and 80s.
  
• Renny Harlin: One of the most popular directors with the biggest amount of flops. How does he do it?
  
• John McTiernan: An important action filmmaker... who literally went to jail.
  
• Rob Reiner: Another actor who had an incredible run as a director, before falling with North.
  

So which one should be next? That's up to you.

Hey Folks, about to head out and do some fishing for the evening, but before I did I wanted to provide a quick update. There have been 3 X-Class solar flares in the past 24 hours. The first two were impulsive in nature. Sharply rising and sharply ending. A flash in the pan as it were. However, the 3rd flare in this sequence is the one of interest. First, it began like the others. A sharp rise and a peak of X1.03 and then a decline. I had nearly finished this write up, but then the X-Ray started rising again, to a 2nd peak of M7.3 and is holding pretty steady for now. It sent a shockwave over the disk and a Type-II radio emission has been detected suggesting a CME is associated with this flare and was clocked at 681 km/s which is respectable. It is in a more geoeffective location on the disk than in previous days and this very well could be aimed our way. We will need to wait for more details, but be aware an earth directed CME is possible in this instance. A strong radio blackout is in place over North America.
I wanted to include this example to help illustrate what we mean when we say impulsive and long duration.
https://preview.redd.it/mupavqqqm04d1.png?width=1126&format=png&auto=webp&s=dfbfb5888f9a4ac9d4a843dda827c2033f23b7ce
AR3697 never seems to decay after producing flares. It does decay on its own accord, but seems unaffected by flaring. It should be noted that some disorganization was becoming slightly evident, but then it just went ahead and produced another X1. This speaks to the role that complexity and configuartion plays in this process. The delta sunspot is doing the heavy lifting right now, compared to previous larger more eruptive flares when the entire AR is more involved. The 2nd flare, the X1.3 looked did seem to produce some movement and darkening north of the region, but alas, no discernible CME at this time. The 3rd flare remains in progress, sloping down slowly after the 2nd peak of M7.3
AR3698 and 3699 appear to be trying to organize but remain in the early phases of attempting to do so. In short, we are looking at all of the signs and readings, instead of focusing on a single active region. The data and observation from my end still suggest that we are in the downswing part of the mini cycle but may be trending the right way towards more activity. However, if we removed AR3697 from this equation, we would be looking at a setup much more reminiscent of early April. Of course we cant do that. Regardless of what the overall trend is, AR3691 continues to flare and the filament remains in play. As a result, regardless of any other happenings on the sun, the chance for a big flare and CME will remain. Safe to say that until it decays past BYG or until it hits the limb, there is no reason to doubt its ability but we must also recognize that the recent impulsive flares are a bit different from what we are accustomed to from this region.
Here is the last 36 hours of our star in AIA 131. The first flare is a quick flash. The 2nd flare is more substantial. The 3rd is more substantial yet despite a slightly lower magnitude. We wait for details on any CME production.
https://reddit.com/link/1d5vhwx/video/e7vq9o4bn04d1/player
On a side note, there has been no CME arrival detected. Yet another demonstration of why it is very difficult to trust space weather models while acknowledging that they are the best we have at this point in time. It could still arrive at any time but I am leaning towards calling it a miss. There has been few spikes on the magnetometers but nothing substantial or even minor geomagnetic storm conditions but it could change in an instant. At this point, North American sky watchers should hold out for a later arrival towards this evening, if the chance even still exists which is not clear. ENLIL spiral has not updated in days. DONKI was incorrect thus far. We take it as it comes.
AA

Greetings! I’m looking to digitally convert my parents old video library collection of home videos and currently in the prep phase (I’m going to be getting a retrotink 4K soon and hope to use that as part of the process)
In the meantime, I’ve been struggling with some issues the current setup. The rechargeable battery on the camera is really bad so I get about 5 minutes on a charge with it, lol…
I’m trying to see if it’s worth investing the time/money into this project.
I have a large number of 8mm cassettes that were stored together mostly in the basement of a temperate part of north america. They all seem to exhibit the same issue so I’m wondering if this is maybe an issue with the camcorder I have.
I’ve added an unlisted yt video for the demo. https://youtube.com/shorts/BfpXN8i56nE?si=hjcNf14hnsyyI889
I believe (80% sure) I’m seeing the same trouble when I watch the video through the viewfinder.
I’ve attached a photo of the model info sticker
Does anyone have any ideas where I should start looking into this problem?
It almost looks like a tracking issue I would find on a VCR…
Thanks in advance!

ID, IX. MAIORES. V, CAL. IUNI. FORTUNA PRIMIGENIA.

I discovered this book by complete chance last year – a very old hardback copy was given to me as gift (in a situation which was certainly weighted with the most unlikely of synchronicities), “huh,” I thought, “it’s a first edition of H.G. Wells,” the book itself almost cannot be opened because it is so old and falling apart so I procured a text and audio file of the thing relatively easily and began to read. In hindsight not only for myself but I fancy for the generations of the last fifty years - in all totality, it is deeply strange that this book has not been more widely recognized or taught in schools, as like 1984 and Brave New World, as being the third contender (although technically the second, published one year after Huxley – seemingly written at the same time interestingly enough) in “visions of dystopia” – except that the book is not so much a vision of dystopia tomorrow but a vision of dystopia ‘today’ or rather ‘life as we know it’ of the 19th, 20th and 21st Centuries (endless war, endless pandemics, economic and logistic chaos), narrated from the comfortable and reassuring position of a society far far in the future who have long since revised their culture and solved all of the causes of the problems and become a society of genius polymaths “with (every Man and Woman) the intellectual equal of the polymaths of the ancient world.”
Now, I do not mean here to seem to ‘sweet-talk’ the reader into rushing out and buying this book or to hold it up in the manner of those other books as if it were some ideological blueprint but instead to assay the thing in the natural context which seems to me to be universally unrealized and which presents itself to us as a thing which is plainly self-evident, that is: that in the depressing and miserable dichotomy of 1984 and Brave New World; two extremely atomizing and miserable narratives, that there is also – far more empowering – The Shape Of Things To Come wherein the miserable protagony and antagony of both 1984 and Brave New World might read as merely a footnote somewhere in the middle of the book as an example of the witless measures mankinds old master undertook to preserve their power in an untenable circumstance. In other words, we know all about 1984 as children; we have this drummed into our heads and we glean our cultural comprehension that dictators cannot be cliques of business people but only lone individuals, usually in military uniform, and then we graduate from that to Brave New World to gain a more sophisticated comprehension of the feckless consumerism and ‘passive egoism’ by which our society actually operates, but then we do not – as I argue we ought – continue along in our education with this third book which actually addresses the matters at hand at a more adult level.
For instance, here, from ‘The Breakdown Of Finance And Social Morale After Versailles’ (Book One, Chapter Twelve) addresses in a single paragraph the cause of our continual economic chaos (of which all crime and poverty and war originates from) and highlights the problem from which this chaos cannot be resolved yet could easily be resolved, “adjustment was left to blind and ill-estimated forces,” “manifestly, a dramatic revision of the liberties of enterprise was necessary, but the enterprising people who controlled politics (would be) the very last people to undertake such a revision,”

…the expansion of productive energy was being accompanied by a positive contraction of the distributive arrangements which determined consumption. The more efficient the output, the fewer were the wages-earners. The more stuff there was, the fewer consumers there were. The fewer the consumers, the smaller the trading profits, and the less the gross spending power of the shareholders and individual entrepreneurs. So buying dwindled at both ends of the process and the common investor suffered with the wages- earner. This was the "Paradox of Overproduction" which so troubled the writers and journalists of the third decade of the twentieth century.

It is easy for the young student to-day to ask "Why did they not adjust?" But let him ask himself who there was to adjust. Our modern superstructure of applied economic science, the David Lubin Bureau and the General Directors' Board, with its vast recording organization, its hundreds of thousands of stations and observers, directing, adjusting, apportioning and distributing, had not even begun to exist. Adjustment was left to blind and ill-estimated forces. It was the general interest of mankind to be prosperous, but it was nobody's particular interest to keep affairs in a frame of prosperity. Manifestly a dramatic revision of the liberties of enterprise was necessary, but the enterprising people who controlled politics, so far as political life was controlled, were the very last people to undertake such a revision.

There is a clever metaphor I fancy that Wells worked in to this for the ‘actual’ defacto controlling class of things, that is: not really the politicians (sorry to disappoint the Orwell and conspiracy fans) but instead the ‘Dictatorship of the Air’ which might easily read as the ‘Dictatorship of the Airwaves’ – in colloquial language, that being radio and then television. Certainly we might imagine Rupert Murdoch or Ted Turner or Sumner Redstone (of yesterday) entering into honourable retirement as like the ‘dictators of the air’ of the very last days before the establishment of a one world state – in any case that is how things would work out, as the power of, say, Ted Turner to eradicate a political party in the United States – at any time he wishes – by simply green-lighting coverage of their bad actions relentlessly for months until revolution occurs is a real power of which no other institution possesses nor possesses any means of defence against, i.e. the ‘real power’ in our world to end a war or begin or war or end this or begin that is that power held by the organized press. This metaphor is somewhat of a more mature view, I think, than Wells earlier conception of the press in The Sleeper Awakes (1899) where the press of a dystopian future is visualized as a “babble machine” spreading circular nonsense to preoccupy the citizenry (although this is arguably a true representation of the mental processes of the Twitter and Facebook user, or of the general baby-speak and extremely infantile form of the news reports on the front page of the BBC News website) which is more or less what the press depicted as being in Brave New World also.
However the construction of sudden new realities (or sudden ‘actualities’) presented by the equation of interdependent technological innovations (i.e. the radio and the television in this instance) is mentioned early on in The Shape Of Things To Come in ‘How The Idea And Hope Of The Modern World State First Appeared’ (Book One, Chapter Two),

The fruitlessness of all these premature inventions is very easily explained. First in the case of the Transatlantic passage; either the earlier navigators who got to America never got back, or, if they did get back, they were unable to find the necessary support and means to go again before they died, or they had had enough of hardship, or they perished in a second attempt. Their stories were distorted into fantastic legends and substantially disbelieved. It was, indeed, a quite futile adventure to get to America until the keeled sailing ship, the science of navigation, and the mariner's compass had been added to human resources. (Then), in the matter of printing, it was only when the Chinese had developed the systematic manufacture of abundant cheap paper sheets in standard sizes that the printed book—and its consequent release of knowledge—became practically possible. Finally the delay in the attainment of flying was inevitable because before men could progress beyond precarious gliding it was necessary for metallurgy to reach a point at which the internal combustion engine could be made. Until then they could build nothing strong enough and light enough to battle with the eddies of the air.

In an exactly parallel manner, the conception of one single human community organized for collective service to the common weal had to wait until the rapid evolution of the means of communication could arrest and promise to defeat the disintegrative influence of geographical separation. That rapid evolution came at last in the nineteenth century, and it has been described already in a preceding chapter of this world history. Steam power, oil power, electric power, the railway, the steamship, the aeroplane, transmission by wire and aerial transmission followed each other very rapidly. They knit together the human species as it had never been knit before. Insensibly, in less than a century, the utterly impracticable became not merely a possible adjustment but an urgently necessary adjustment if civilization was to continue.

In other words, then, a global state (or, rather, such power in general held by the press as I see the analogy extending to them as being the ‘Dictatorship of the Airwaves’) was impossible to imagine and completely laughable before the technologies had stacked together to reveal as like in a simple piece of arithmetic which produced a single outcome of the equation; that no sooner had the technologies existed then the thing had become an actual reality – in that 1) unassailable political power had been unthinkingly dropped into the lap of the owners of the press, but that more importantly as consequence that therefore 2) mankind was subject to that power, that is: the situation existed the moment the technologies did – and this whether any living person had even realized it, as I think quite naturally all the time Men and Women invent things that they really have no notion of the fullest or most optimal uses of (“nothing is needed by fools, for: they do not understand how to use anything but are in want of everything,” Chrysippus), e.g. in no metaphor the television was quite literally invented as a ‘ghost box’ to commune with ghosts imagined to reveal themselves by manipulating the black and white of the static until someone else had the idea that there was at least one other use for that contraption.
It is quite strange, also, that in contemporary times we have for ages been heavily propagandized ‘against’ the idea of a “one world state” as if, say, all the crimes and fecklessness that have gone on in our lifetimes are somehow secretly building towards the creation of such a thing – not a thing you would naturally conclude from an observation of those events nor a thing advocated for by anybody (insofar as I have ever heard) but it is a thing which would be the first logical response to ‘preventing’ such crimes from ever occurring again – such as like the already widely practiced concept of a Senate-Style Federation of Sovereign States rather than a hundred or so mutually antagonistic polities capable of bombing themselves or screwing up their economies and creating waves of refugees or mass starvation or pandemics, and so on. For instance, All Egypt is dependent on the flow of the Nile which originates in what is today another country, that other country recently decimated the flow of the Nile by gumming up the Nile with a Hydroelectric Dam; such an outcome would not occur if the total mass of the land itself was governed as the single interconnected economic and environmental system that it is in physical reality of which, when divided along arbitrary borderlines, there is no means to govern the entirety of the region in an amicable and prosperous manner for all as a whole and no recourse to the otherwise intolerable situation but War which is unlikely to occur – as most Nations are comprised of civilized peoples who rightly loath the concept of War – but it is the single and unavoidable outcome to resolve such a situation until that situation has dragged on for decades, causing immense suffering, until it reaches that point of desperation – the matter of Palestine and Israel, fresh to my mind in these days, raises itself also.
Of the matter of War itself, in ‘The Direct Action Of The Armament Industries In Maintaining War Stresses’ (Book One, Chapter Eleven), Wells relays in 1933 what United States President Eisenhower would later remark in 1961 in his farewell address of the dangers of the Military Industrial Complex; albeit far more analytically on Wells part, that: it is not so much the ‘desire to harm’ on the part of the armament industries which sees them engage in unnecessary build-up of weapons stockpiles but that it is simply their business to produce, to stockpile, produce more deadly variants and stockpile the more deadly variants and sell off their old stockpiles to whomsoever rings their doorbell; for instance the on-going War in Ukraine is no different in this regard to the Viet Cong and NATO Warfare in Vietnam in that massive quantities of cheap munitions were necessary for the war to be fought in the first place and massive quantities of munitions happened to exist as a by-product of the Armaments Industries to be dumped onto the warring parties in order to facilitate their macabre impulses at the expense of the citizenry; both at their cost in terms of the debt taken on to procure the weaponry on the part of their governments and in terms of their lives when the weaponry was utilized to the outcome of massive loss of life of a single peoples within a bordered space – a thing of no value to themselves. Simply put, albeit in a very simplistic reduction to the bare basics: the War would not reached such catastrophic inhuman proportions without massive quantities of cheap Armaments that otherwise sat taking up warehouse space for more valuable Armaments on the part of the producer and seller.

In a perpetual progress in the size and range of great guns, in a vast expansion of battleships that were continually scrapped in favour of larger or more elaborate models, (Armament Firms) found a most important and inexhaustible field of profit. The governments of the world were taken unawares, and in a little while the industry, by sound and accepted methods of salesmanship, was able to impose its novelties upon these ancient institutions with their tradition of implacable mutual antagonism. It was realized very soon that any decay of patriotism and loyalty would be inimical to this great system of profits, and the selling branch of the industry either bought directly or contrived to control most of the great newspapers of the time, and exercised a watchful vigilance on the teaching of belligerence in schools. Following the established rules and usages for a marketing industrialism, and with little thought of any consequences but profits, the directors of these huge concerns built up the new warfare that found its first exposition in the Great War of 1914-18, and gave its last desperate and frightful convulsions in the Polish wars of 1940 and the subsequent decades.

Even at its outset in 1914-18 this new warfare was extraordinarily uncongenial to humanity. It did not even satisfy man's normal combative instincts. What an angry man wants to do is to beat and bash another living being, not to be shot at from ten miles distance or poisoned in a hole. Instead of drinking delight of battle with their peers, men tasted all the indiscriminating terror of an earthquake. The war literature stored at Atacama, to which we have already referred, is full of futile protest against the horror, the unsportsmanlike quality, the casual filthiness and indecency, the mechanical disregard of human dignity of the new tactics. But such protest itself was necessarily futile, because it did not go on to a clear indictment of the forces that were making, sustaining and distorting war. The child howled and wept and they did not even attempt to see what it was had tormented it.

To us nowadays it seems insane that profit-making individuals and companies should have been allowed to manufacture weapons and sell the apparatus of murder to all comers. But to the man of the late nineteenth and early twentieth centuries it seemed the most natural thing in the world. It had grown up in an entirely logical and necessary way, without any restraint upon the normal marketing methods of peace-time commerce, from the continually more extensive application of new industrial products to warfare. Even after the World War catastrophe, after that complete demonstration of the futility of war, men still allowed themselves to be herded like sheep into the barracks, to be trained to consume, and be consumed, by new lines of slaughter goods produced and marketed by the still active armament traders. And the accumulation of a still greater and still more dangerous mass of war material continued.

The book is, if the reader has likely already gathered from the excerpts, not written in the style of a protagonal narrative; i.e. not as a story, i.e. no hero and no villain, but as a sort of a Historia Augusta – that is really the most fitting comparison I think of when trying to describe this to a new reader (or perhaps J.J. Scarisbrick’s Henry VIII), that is to say it is written ‘as’ a History in the classical style we are familiar with from the better of the ancient writers, as like Appian or Cassius Dio, but unlike Suetonius or Tacitus it is absent of the sloppy hinging of all bad things on the highly personalized propaganda ad hominem (i.e. blame the fall of empire on one guy) that goes in those narrative works as we are typically familiar with them.
It is, of course, a work a fiction; although Wells did predict World War Two beginning in late 1939-1940 (although he had Poland putting up much better and longer of a fight against the Germans) and various other innovations, beginning from his own day with a true account of events prior to his own day – giving us a valuable account of affairs and actors prior to 1933 which would otherwise not come easily to any of us to discover. But the book, ultimately, is vehicle for the transmission and discussion of these societal (i.e. social, economic, industrial, logistic) matters presented to the audience of the day fresh, in their own minds, from the abject horror recently witnessed in World War One – and the economic catastrophes of which Roosevelts reforms had not yet come into tangible reality (i.e. relief for the poor, public works projects such as the motorways across America) as is discussed in that other seemingly little known H.G. Wells literary offering in his face-to-face interview with Josef Stalin the following year in 1934 (something which I think is of far more historical value than say, Nixon and Frost or Prince Andrew and Emily Maitlis), so as to ‘avert’ another crisis and pluck from the ether a seemingly alternate trajectory of where Mankind might at last get its act together. This ‘novel’ (thought it seems strange to call it that) ought be read, I would advise, in conjunction with ‘The Sleeper Awakes’ (1899) and also the (actually very depressing – I would not advise it) short-story prequel ‘A Story Of The Days To Come’ (1897) – set in that same universe – which, perhaps it is because I am English, seems to me to be a black horror show of the reality that we actually find ourselves living in this far into an actually dystopic future – or perhaps yet with the ‘strange windmills’ powering the mega cities that this a future yet to come (no pun intended); the broken speech, the babble machines, the miserable condition of the Working Class and their consumption of pre-packaged soft bread, the desire to flee the urban sprawl into the dilapidated countryside and make a little life in a run-down house with tacky wallpaper peeling away … ah, forgive me, my point is that ‘our condition’; i.e. those of us literate in English, is quite analogous to the condition of the central characters in those two stories; a culture dulled intellectually to the point that they can barely speak or think, being appraised and assayed by ourselves; those of us simply literate, as to render our commentary stuck as to seem as mutually alien as like Caesar in Gaul. However, it is in the context of the frame given to us in ‘The Shape Of Things To Come’ that we might gain a degree of sanity about this self-same situation; to study and lean into that dispassionate quality as to discern the nature of things as they are and recognize how important this quality is in relation to Well’s ultimate outcome for the best possible position of Humankind far far future, that is: that of Humankind’s vital intellectual capacity, and that the most striking message of STC, beyond all we have mentioned in this little overview, is that intellectual capacity in and of itself.
For example, when we consider the ‘actuality’ of the power of Turner or perhaps Zuckerberg in his heyday, for instance, we consider a power fallen into a Mans lap by an accidental stacking of disparate technologies created not by himself but of which possess a power utterly dependent in that same equation upon on a population being ‘witless’ in the first place and so led slavishly by the “babble machines”. However you cut it, reader, the great uplifting of Humankind to a standard of autonomy and intellectual prowess – not held by an elite but possessed by All People – is a thing both intrinsically self-sufficient within our grasp for our own selves and is certainly the prerequisite for political matters in that intellectual capacity of the voting public determines entirely whether a public is tricked or foolish and gets themselves into trouble by undertaking some obvious error or whether they are immune to such trickery and foolishness in the first place and that their energies and time are spent on more valuable pursuits. It seems to me that our contemporary society has done away with the notion of good character through intellect and that we live with the outcome of this; being shepherded by emotional manipulation and brute force because our society at large is treated as if we lacked the verbal and intellectual toolsets to understand anything else – moreover possessing no means to discern whether or not what is forced onto us is right or wrong; truth or lies, and so on. Such a society as this, again it seems plain to me, is ‘any’ dystopia because it is the baseline composition for ‘all’ dystopia; as like the foolish dogma of an out-dated ideology for example rests itself upon a large enough contingent of the public being either treated as if they were or in fact are “too foolish” to discuss or think a thing through, so a dogma is poured over them like concrete creating, in turn, intolerable circumstances as the dogma, tomorrow, becomes out-dated and suddenly instructs them to do foolish things, as like in the “Banality Of Evil” (read: Hannah Arendt) as the character in all serious perpetrators of inhumanity who insist, with a confused expression on their faces, that they were just doing their job – and this ‘quality’, of extreme ignorance, is the composition of the culture where such ‘evil actions’ occur.
I mean here that in STC we have on one hand a very in-depth account, very serious reading, to graduate the reader out of the depressive, atomizing, disempowering, conspiratorial milieu and mire of ‘life’ presented to us in 1984 and Brave New World, but that we have at the same time the very resonant harmonics that one does not need to “wait around for a distant future utopia” to “solve all the problems” but that the tools to do so are well within our grasp at any time we so choose and of which such an undertaking constitutes the foundation stones and tapestries of that future utopia which, I think, could be said to “meet us half-way” in many of these matters, as like we reach forward and they reach back and then those in the past reach forward and we in the present reach back; that is anyway what it is to learn from the past and anyway the answer to “why the Grandfather sews the seeds for trees from whose fruits he will never eat.”
Valete.

ID, IX. MAIORES. V, CAL. IUNI. FORTUNA PRIMIGENIA.

FULL TEXT ON GUTENBERG OF H.G. WELLS ‘THE SHAPE OF THINGS TO COME’ (1933)
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The Top 8 Best 1903 Springfield Sporter Stock

1. Inletting of Gunstock Blanks and 1903 Springfield Stock Modifications - A meticulously detailed guide to firearm design and assembly, featuring inletting of gunstock blanks and modifications of the classic 1903 Springfield, now in a rare facsimile reprint form.
2. The Art of 1903 Springfield Service Rifle Manufacture - Delve into the history and manufacturing process of the iconic Model 1903 Springfield Service Rifle with this detailed and well-preserved book from Wolfe Publishing Co.
3. The M1903 Springfield Rifle: A Comprehensive Guide - Discover the history and variations of the M1903 Springfield Rifle with this comprehensive, 440-page paperback from 2001, published by North Cape Publications Inc.
4. Gun Enthusiast's Guide to 1903 Springfield Handbook - This comprehensive guide to the 1903 Springfield Sporter Stock, featuring exploded parts drawings, specifications, service accessories, historical information, and recommended reading references, is a must-have for both shooters and collectors.
5. The Illustrated History of the Springfield 1903 Rifles [Paperback] - Discover the fascinating history and evolution of the iconic Springfield 1903 Rifle with Bill Brophy's comprehensive, photo-rich book, providing authoritative insights into its development, use, and lifelong impact.
6. Inletting of Gunstock Blanks and Modifications of the 1903 Springfield - Master the art of firearm design and assembly with this detailed guide, available as a facsimile reprint of the original work.
7. U.S. Rifles and Machine Guns: Springfield 1903 Model, Enfield, and Three Types of Machine Guns - Experience an in-depth exploration of rifle and machine gun manufacturing in this extensive book, now in the public domain, featuring detailed accounts of the Springfield 1903 model, Enfield rifle, and three types of machine guns.
8. Mastering the Art of M1903 Springfield Performance Tuning - Experience the ultimate guide to tuning and modifying M1903, M1903A3, and M1903A4 rifles with "The M1903 Springfield Performance Tuning Manual," complete with detailed instructions, techniques, and history for both amateur and enthusiasts alike.

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Reviews

🔗Inletting of Gunstock Blanks and 1903 Springfield Stock Modifications

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As an avid hunter and gun enthusiast, I recently came across this fascinating book on the inletting of 1903 Springfield gunstock blanks. The author dives deep into the intricacies of gunstock modification and design, making it a must-read for anyone interested in mastering the trade.
What stood out the most was the wealth of historical context and detailed information the book provides, giving readers a unique insight into the evolution of firearm design. The high-resolution images were equally impressive, making it easy to follow along with the author's techniques and demonstrations.
While the book may not be for everyone, as it requires a certain level of technical understanding, I highly recommend this to anyone wanting to improve their gunstock crafting skills or just looking to learn more about the history behind firearms. Overall, it's a valuable addition to any collector's library.

🔗The Art of 1903 Springfield Service Rifle Manufacture

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I recently picked up this engaging book about the Model 1903 Springfield Service Rifle, and I must say, it's been quite an enlightening read. The paperback, published by Wolfe Publishing Co. , is in pretty good condition despite some age-related wear and handling marks on the cover. However, the content itself is as sturdy as the book's binding.
I particularly enjoy the detailed descriptions and black-and-white illustrations, which make the history of the rifle come alive. While scanning through the preliminary pages, I found a previous owner's embossed stamp and an ink name, adding a personal touch to the book.
Overall, this book is a well-preserved, high-quality read that provides insight into the fascinating story of the 1903 Springfield Sporter Stock.

🔗The M1903 Springfield Rifle: A Comprehensive Guide

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I recently stumbled upon "The M1903 Springfield Rifle and Its Variations" (here's my humanized version: The M1903 Springfield Gunbook) for a bit of casual reading. I have to admit, it's been an unexpectedly interesting journey through the land of rifles!
This paperback book, published by North Cape Publications Inc, doesn't just tell the history of the rifle, but also delves deep into the variations and modifications made to it. From the stock to the bayonet, this book explores it all with an impressive level of detail.
It's actually quite a hefty read, clocking in at 440 pages, so it might not be as portable as one might want. However, this makes sense considering there's a lot of ground to cover when it comes to a topic as rich and profound as this one.
Visually, the book doesn't disappoint. Its pages are filled with accurate and well-crafted diagrams, making the technical stuff much more comprehensible. Despite the depth, I found the narrative easy to follow, making my venture into the world of rifles a less daunting challenge.
That said, the book doesn't exactly go smoothly. Some parts can be a bit hard to read and understand, especially to the uninitiated. It is a niche area, after all.
Finally, the price tag might be a bit steep for casual readers. But for those serious about rifles, it's a worthy investment.
So, would I recommend this book? Yes, with a few words of caution. If you dive in without some prior knowledge of the topic, you might find it a bit challenging. But if you're a beginner wanting to immerse yourself in this intricate world, it's a good starting point. Overall, it's a comprehensive, informative and engaging read.

🔗Gun Enthusiast's Guide to 1903 Springfield Handbook

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As someone who enjoys spending time at the range and has an appreciation for unique firearms, I was thrilled to come across the 30 Model 1903 Springfield Handbook. This book has become my go-to guidance when it comes to disassembling and reassembling my trusted firearm. The clear, detailed diagrams make it a breeze to understand the intricate workings of the rifle.
One of my favorite features of this handbook is the triple saddle-stitched binding, which gives it a sturdy feel and ensures it remains intact even after multiple uses. The over 60 photos and line drawings are a bonus, providing visual aids that make the process even more understandable.
However, I do wish the book had a more comprehensive service and maintenance section. While it does cover the basics, I would've appreciated a more in-depth guide on taking care of my firearm, including information on recommended cleaning solutions and maintenance techniques.
All in all, the 30 Model 1903 Springfield Handbook is a valuable addition to any shooter or collector's library. Its detailed illustrations and straightforward language make it an excellent resource for anyone looking to dive into the world of 1903 Springfield rifles.

🔗The Illustrated History of the Springfield 1903 Rifles [Paperback]

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The Springfield 1903 Rifles: The Illustrated, Documented Story of the Design, Development, and Production of All the Models, Appendages, and Accessories is a comprehensive and in-depth exploration into the history and service of this legendary rifle. The book, penned by Bill Brophy, is an exhaustive lifetime work that features over 1500 high-quality photos, showcasing every aspect of the 1903 Springfield Sporter Stock in meticulous detail.
Using this book as a daily companion transformed my understanding of the rifle's development, role in both World Wars, and its continued use as a popular hunting rifle. The extensive research and knowledge exhibited by Brophy in the book are truly exceptional, and the extensive photo documentation really brings the subject to life.
However, while the detailed and thorough nature of the content is one of the book's main draws, the sheer amount of information can be overwhelming for some readers. While this work is ideal for collectors and enthusiasts who seek a comprehensive reference, casual readers may find some sections difficult to navigate.
In summary, The Springfield 1903 Rifles is a remarkable resource that delves deep into the history, production, and service of the iconic 1903 Springfield. With exceptional photo documentation and profound research, this book is a must-have for all collectors and aficionados of the 1903 Springfield Sporter Stock.

🔗Inletting of Gunstock Blanks and Modifications of the 1903 Springfield

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Discover the intricate world of firearm design and assembly through this fascinating book, specifically focusing on the inletting of gunstock blanks and modifications of the 1903 Springfield. As someone who's dabbled in gunsmithing, I found this book to be a valuable resource.
One of the features that stood out for me was the detailed illustrations and step-by-step instructions. They were easy to follow and allowed me to learn the intricacies of inletting gunstocks. The format of the book, in particular the hardcover edition, is another positive aspect. It lends a sense of sturdiness and durability.
However, there are a couple of downsides to note. Firstly, the language of the book is German, which might be challenging for some English-speaking readers. Additionally, a significant number of pages are dedicated to the history of the 1903 Springfield, which may not be as relevant for those purely interested in gunsmithing techniques.
Despite these minor drawbacks, this book is an essential addition to any gunsmith's library. Its practical insights make it worth the read, even if you're not a seasoned pro.

🔗U.S. Rifles and Machine Guns: Springfield 1903 Model, Enfield, and Three Types of Machine Guns

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I recently picked up "United States Rifles and Machine Guns: A Detailed Account. . " and let me tell you, it has been quite an intriguing journey through the history of firearms manufacturing. The book itself is a hardback, giving it a solid feel and a sense of durability that I appreciate.
Diving into the content, I was immediately captivated by the meticulously detailed descriptions of the methods used to create the iconic Springfield, 1903 Model Service Rifle. The author leaves no stone unturned - from the fixture details to the man power and machinery employed, it's all laid out for the reader. As a true enthusiast, this wealth of information has been both educational and enjoyable.
That being said, there are a couple of areas where the experience could have been even better. Firstly, the shipping and delivery process was considerably slow. It's a minor issue in the grand scheme of things, but it's worth mentioning nonetheless.
Secondly, while the book is replete with fascinating information on the history and creation of these firearms, I found it lacked an engaging narrative that would have brought the story to life in a more captivating way. Despite this, the book remains an invaluable resource for anyone with an interest in the manufacturing process of these historic pieces.
Overall, though, "United States Rifles and Machine Guns. . " is a well-researched and comprehensive guide for anyone looking to learn more about the evolution of firearms manufacturing in the United States.

🔗Mastering the Art of M1903 Springfield Performance Tuning

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I recently came across "The M1903 Springfield Performance Tuning Manual" while looking for tips on how to optimize my vintage hunting rifle. As a first-time gun enthusiast, I was eager to learn more about this classic firearm and its potential for accuracy.
The book dives deep into the world of the M1903, providing a wealth of information on the rifle's history and how to care for it properly. From cleaning techniques to action tuning, the author leaves no stone unturned. I particularly appreciated the section on choosing the right ammunition for my rifle, as it helped me understand the importance of customizing my firearm to suit my needs.
However, there were a few aspects that I found less engaging. Firstly, while the book is filled with photos, they are mostly of the author's own firearms, which may not be as visually appealing or representative as professional photographs. Secondly, the section on stock modifications felt a bit overwhelming, with so many options available it was challenging to decipher which one would be best for my rifle.
Despite these minor drawbacks, "The M1903 Springfield Performance Tuning Manual" has been an invaluable resource for me, providing both practical knowledge and expert tips on how to improve the performance of my vintage hunting rifle. It's a must-read for anyone interested in this classic firearm, regardless of their level of experience.

Buyer's Guide

Welcome to our comprehensive buyer's guide for 1903 Springfield Sporter Stocks. This guide is designed to help you make an informed decision when purchasing this type of firearm stock. We'll cover important features, considerations, and general advice about the product category, ensuring you have all the necessary information to make a smart choice.
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Important Features

• Material: 1903 Springfield Sporter Stocks are typically made from wood, specifically American walnut, known for its durability and aesthetic appeal.
• Design: They feature a classic, hand-cut checkering pattern for improved grip and control during shooting.
• Fitment: Ensure the stock fits your specific 1903 Springfield rifle model, as different models may require different stock dimensions.
• Finish: Some stocks come pre-finished or with raw wood, allowing you to customize the appearance by staining or painting.

Considerations

• Budget: Determine your budget beforehand, as prices for 1903 Springfield Sporter Stocks can vary significantly depending on the material, design, and finish.
• Functionality: Consider factors such as grip comfort, ease of installation, and compatibility with other accessories you may already own, like scopes or slings.
• Customization: If you prefer a personalized touch, look for stocks that allow for custom engravings, checking patterns, or finishes.

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General Advice

When shopping for a 1903 Springfield Sporter Stock, it is essential to do your research, read customer reviews, and consult with experts to ensure you make an informed purchase.
During the installation process, be cautious not to damage your rifle. Enlist the help of a professional if needed.
Lastly, remember that regular maintenance, proper storage, and careful handling will help prolong the life and performance of your 1903 Springfield Sporter Stock.
We hope this buyer's guide has provided valuable insights and information to help you choose the perfect 1903 Springfield Sporter Stock for your needs. Happy hunting!

FAQ

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What is a 1903 Springfield Sporter Stock?

The 1903 Springfield Sporter Stock is a type of rifle stock that is designed for hunters and sport shooters. It is a high-quality, durable stock that is made of select walnut wood, providing a natural and aesthetically pleasing finish.

What makes the 1903 Springfield Sporter Stock different from other rifle stocks?

The 1903 Springfield Sporter Stock is known for its exceptional craftsmanship, which includes hand-selected walnut wood and precise fitting. This attention to detail results in a stock that is both attractive and functional. Additionally, the stock is compatible with the 1903 Springfield, making it a great choice for those who own this classic rifle.
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Who would benefit from using a 1903 Springfield Sporter Stock?

Hunters and sport shooters who own a 1903 Springfield rifle would benefit from using a 1903 Springfield Sporter Stock. The stock is designed to improve the rifle's performance, comfort, and aesthetics, making it a great choice for those who take their shooting seriously.

What is the process for installing a 1903 Springfield Sporter Stock?

Installation of a 1903 Springfield Sporter Stock typically involves removing the old stock and replacing it with the new one. This process may require some basic woodworking skills and tools, such as a saw and sandpaper. It is recommended to consult the manufacturer's instructions or enlist the help of a professional if you are unsure about the installation process.

How long does it take to install a 1903 Springfield Sporter Stock?

The installation time for a 1903 Springfield Sporter Stock will vary depending on your experience and skill level. If you are confident in your ability to perform the installation, it may take only a few hours. However, if you are unsure or new to woodworking, it may take longer to complete the process.

What are the maintenance requirements for a 1903 Springfield Sporter Stock?

Proper maintenance of a 1903 Springfield Sporter Stock is essential to ensure its longevity and performance. This includes regular cleaning, oiling, and checking for any signs of wear or damage. It is also important to store the stock in a dry and secure location when not in use.

Are there any customization options available for a 1903 Springfield Sporter Stock?

While the 1903 Springfield Sporter Stock is a high-quality and durable stock, some customers may choose to customize it further. This can include options such as different finishes, inlays, or even custom engraving. It is best to consult with the manufacturer or a qualified woodworker to discuss your customization options and ensure that the work is completed to a high standard.
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Welcome to our roundup of the top 380 extended magazines on the market. If you're a gun enthusiast looking to expand your magazine collection, then you're in the right place. In this article, we've compiled a list of the best extended magazines for the 380 caliber, ensuring that you get the most out of your firearm. Whether you're a seasoned professional or a newcomer to the world of firearms, you'll find something that suits your needs in this roundup.

The Top 15 Best 380 Extended Magazine

1. ETS Group Glock 42 9-Round Extended Magazine - Experience superior functionality and durability with the ETS Group Glock 42 9rd Mag, featuring extreme impact resistance, a translucent body, and compatibility with aftermarket floorplates.
2. Diamondback DBAM29 380 Extended Magazine with Finger Extension - Diamondback DBAM29 FNG EXT FDE - Versatile 17-round finger extended 380 magnetic spare magazine for a reliable and safe shooting experience on the range.
3. US Palm AK30R 7.62x39mm 30-Round Magazine in Black for AK-47 - Experience unmatched reliability and affordability with the US Palm AK30R 30-round magazine, featuring a self-cleaning polymer follower and a durability that stands up to any test on the range.
4. Walther PPK 380 8RD Extended Magazine - Experience unbeatable precision and durability with the Walt Magazine CCP 380 8RD, a top-rated, high-quality extended magazine designed for the PK380.
5. Durable Springfield Hellcat Magazine Extension for Improved Grip - Upgrade your XD(M) 45ACP Compact shooting experience with Springfield Armory's X-Tension magazine sleeve, providing a secure and comfortable grip with your high capacity magazines.
6. Increase Hellcat Magazine Capacity with KRISS Mag-Ex Kit - The KRISS Mag-Ex Kit 2 extends your Glock magazine's capacity with precise manufacturing, long-term reliability, and durable, lightweight construction, perfect for those seeking enhanced performance and efficiency.
7. Adjustable Retention Magazine Pouch for Alien Gear - Experience ultimate convenience and security with the Alien Gear Cloak Single Mag Carrier, featuring customizable retention and cant angles, durable construction, secure locking, and proudly made in the USA.
8. 8-Round Stainless Steel Kimber 1911 Magazine - Upgrade your Kimber 1911 Magazine with the Ed Brown 848 45 8 RD Stainless Steel Finish, featuring a steel follower, heavy duty spring, and secure 8-round capacity for unmatched reliability and ease of maintenance.
9. Stainless Steel 32 ACP/380 ACP Guardian Magazine (6-round) - The Marlin Model 80 Magazine is a versatile 6-round solution, available in stainless steel for both 25 NAA/32 ACP and 380 ACP Guardian models, featuring a flat floor plate and available with both standard and finger extension bases.
10. Shield Arms S15 Magazine Upgrade with Easy Access Floor Plate - Upgrade your M&P Shield S15 magazine with the Shield Arms S15 Magazine Extension, featuring unique easy access floor plate, index cuts, and 12 coil plus power spring for added rounds and functionality - proudly made in the USA.
11. Architectural Record Magazine 1-Year Subscription - 12 Issues - Architectural Record Subscription: Stay ahead in your field with 12 issues of industry insights, innovations, and essential strategies.
12. Graphis Journal 380: Inspiring Designs & Creativity - Dive into the world of creative masterminds with Graphis Journal 380 – a quarterly treasure trove showcasing today's best designers, artists, and architects.
13. 21° Extended Capacity Magazine for RYOBI Nailer - Boost your productivity with the RYOBI 21° Extended Capacity Magazine, providing an extended runtime for framing projects and offering ease of installation along with compatibility with the RYOBI PBL345B framing nailer.
14. PMAG +5 Extension for Magpul 380 Magazine - Boost your 380 pistol's capacity with Shield Arms PMAG +5 Extension, featuring easy access floor plate design for swift maintenance.
15. RIDGID 21° Extended Capacity Magnetic Holder for Nails - Ridgid's AC102EM21N extended capacity magazine dramatically increases productivity on the job site, holding two strips of nails and made from efficient magnesium construction.

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Reviews

🔗ETS Group Glock 42 9-Round Extended Magazine

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I recently gave the ETS Group Glock 42 9rd Mag a whirl, and I have to say, it was a game-changer. The first thing that stood out to me was the magazine's extreme impact resistance. I dropped it a few times during my testing, and it held up like a charm. The creep-resistant feed lips also made a difference in terms of reliability.
One of the highlights for me was the translucent body, allowing me to see the count and type of rounds at a glance. It's a simple yet effective feature that makes it easy to manage your ammo. The compatibility with and aftermarket floorplates is also a big plus, giving you more flexibility when it comes to customizing your weapon.
However, there were a few things I noticed that could be improved. For example, the magazine sometimes takes a bit of effort to load the last round, which can be a bit frustrating. Additionally, the fit and finish of the product seemed slightly less polished than some of the other high-end Glock mags I've used in the past.
Overall, the ETS Group Glock 42 9rd Mag offers solid performance, reliability, and customization options. It's a great choice for those looking for an affordable yet functional alternative to the factory Glock mags.

🔗Diamondback DBAM29 380 Extended Magazine with Finger Extension

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As a lover of outdoor sports, I recently needed an extra magazine for my Diamondback DBAM29, which I use for hunting expeditions. This replacement spare magazine did the job perfectly. It's just as reliable and robust as the original one and its finger extension made it far more comfortable to load, especially when hunting under challenging conditions.
However, being a novice with spare magazines, I noticed it was a bit pricey. Not to overemphasize, it's not the most affordable magazine. Despite that, its durability and top-notch performance make it worth the investment. I would recommend this spare mag to Diamondback owners who want a reliable backup for their gun.

🔗US Palm AK30R 7.62x39mm 30-Round Magazine in Black for AK-47

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When I first laid my hands on the US Palm AK30R magazine, I must admit, I was a bit skeptical. The price seemed reasonable, but would it live up to the hype? Little did I know, I was about to embark on a truly remarkable journey with these mags.
From the moment I started using them, the quality shone through. The low friction self-cleaning polymer follower made loading a breeze, while the unique waffle and tread design gave me that reassuring US Palm touch. But the real star of the show was the reliability - even during rapid fire, these mags performed flawlessly, and that was when I knew I had stumbled upon a winner.
However, no product is perfect, and I faced one minor issue: the fit on my AK-47 receiver required a bit more pressure than usual. But it wasn't a deal breaker, and with a quick search online, I discovered this was a common issue with AK mags.
Overall, I was pleasantly surprised by the US Palm AK30R magazine. It delivered on its promise of reliability and was priced so well that it didn't break the bank. If you're in the market for a high-quality AK mag, I'd certainly recommend giving this one a try.

🔗Walther PPK 380 8RD Extended Magazine

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I've been using the Walt Magazine CCP 380 8RD for quite some time now, and I must say, it has been a reliable companion in my daily life. The high quality materials used in its construction make it both sturdy and sleek, which I appreciate. One of the most notable features is its perfect fit with my CCP, ensuring durability and reliability that you can't find in other brands.
However, there's one aspect that needs improvement, which is the viewing holes for the magazine's capacity, making it challenging for right-handed shooters to check the rounds. But overall, the Walt Magazine CCP 380 8RD has been a trusty partner, and I highly recommend it to anyone looking for an efficient and durable magazine for their CCP 380.

🔗Durable Springfield Hellcat Magazine Extension for Improved Grip

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Recently, I tried out the Springfield XD(M) 45 ACP Compact magazine sleeve, a helpful accessory to keep in your gun. It's designed particularly for those using high capacity magazines, creating a firm grip between the magazine base plate and the pistol grip. It fits perfectly with an XD(M) 45ACP Compact, which I thought was great, as I didn't have to worry about stability with my larger magazines.
However, the experience wasn't flawless. The product came with some setbacks too. The sleeve seems to be of higher quality than its price suggests, but the company's customer service was less than satisfactory. Unfortunately, they charged and shipped the item despite a same-day cancellation, causing a small inconvenience. I also noticed slight difficulties in fitting the magazine sleeve onto my XD(M) 45 ACP Compact, though I could work it it out eventually.
Despite these drawbacks, I feel that the benefits of the Springfield X-Tension magazine sleeve outweigh the negative experience I had with the company. It provides a solid grip and stability to an often-unnoticed aspect of shooting, making my experience with the XD(M) 45 ACP more comfortable. Overall, it's a product worth considering for XD(M) 45 ACP Compact shooters seeking a more stable experience with their high-capacity magazines.

🔗Increase Hellcat Magazine Capacity with KRISS Mag-Ex Kit

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As someone who appreciates precision and durability in their firearm accessories, I was excited to try the Kriss USA Magex2 Extension Kit. The extended baseplate, outer sleeve, and spring all came together flawlessly to provide a boost in capacity for my factory standard Glock magazines.
I must say, the lightweight reinforced composite construction made it a joy to handle, and the 30-round capacity truly made a difference in my shooting experience. However, I noticed that it was incompatible with reduced capacity 10rd magazines, which could be a potential downside for some users. Overall, the Kriss USA Magex2 Extension Kit delivered on its promises, and its long-term reliability is truly something to be admired.

🔗Adjustable Retention Magazine Pouch for Alien Gear

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As soon as I started using the Alien Gear Cloak Single Mag Carrier, I was impressed with its durability and secure locking system. It gave me the freedom to adjust my retention settings and angle for the perfect fit, no matter my carry method.
Living in America, it was great to know this product was made right here. However, I did notice that the mag pouch was a bit heavy during longer outdoor activities, and sometimes would shift slightly in its position.
But overall, I've been really happy with this purchase and can confidently recommend it to others looking for a reliable and customizable mag carrier.

🔗8-Round Stainless Steel Kimber 1911 Magazine

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These Ed Brown 848 45 magazines have been a reliable addition to my collection. The stainless steel finish is a nice touch that adds a touch of class to the overall design.
One big positive for me was the fact that the magazine tube has been lengthened to accommodate the 8th round while still maintaining the original ultra-reliable follower design. However, one minor drawback I've noticed is that it can be a bit tricky to load the 8th round, but with a bit more practice, I'm sure I'll get the hang of it.
Overall, I'm quite happy with my purchase and would definitely recommend these magazines to fellow 1911 enthusiasts.

🔗Stainless Steel 32 ACP/380 ACP Guardian Magazine (6-round)

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Last week, I found myself in a situation where I needed an extra magazine for my North American Arms 380. I decided to give the 6-round Marlin Model 80 Magazine a try. To my surprise, this stainless steel magazine perfectly fit my. 380 ACP Guardian. It's compact and easy to carry when I need an extra round.
The flat floor plate design makes it simple to load. The magazine features a sturdy spring that holds the rounds in place securely, ensuring they won't get jammed when I need them the most. One thing that did stand out a bit negatively was the size – the magazine is designed for a capacity of six rounds, which limits its efficiency compared to larger-capacity options. However, if you're a North American Arms 380 owner and need an additional magazine for your gun, this one is worth considering.
As I used it, I began to appreciate the convenience and reliability this magazine brought to my gun. I ended up ordering a few more to ensure I was always prepared for unexpected situations. With a smooth operation and a good feeling in my hands, the Marlin Model 80 Magazine is a reliable addition for anyone looking to enhance their loadout.

🔗Shield Arms S15 Magazine Upgrade with Easy Access Floor Plate

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I recently had the pleasure of testing out the Shield Arms S15 +5 EXT Red, and I must say, it exceeded my expectations. The unique easy access floor plate made it a breeze to access the spring and follower without removing the extension from the magazine body. The extension body itself featured index cuts, which added a touch of precision to the already impressive design.
Machined from billet 6061 aluminum, the S15 +5 EXT Red boasted a well-crafted, high-quality build. The Type 2 anodized finish added durability and a sleek appearance, making it a standout accessory for any S15 Gen 2 magazine. With its addition of 5 rounds, the Shield Arms S15 became even more versatile for those high-stress situations.
Not only does this extension fit most aftermarket flared mag wells, but it's also proudly made in the USA. The 12-coil plus power spring ensured a smooth and reliable magazine performance, and the added rounds were a real boost in confidence when I needed it most.
However, there were a couple of minor cons. At first, the installation process was a bit tricky, and I had to consult the user manual for guidance. Additionally, the design could be a little more low-profile for an even stealthier look. Nonetheless, the Shield Arms S15 +5 EXT Red proved itself to be a top-notch upgrade for any S15 magazine enthusiast.

🔗Architectural Record Magazine 1-Year Subscription - 12 Issues

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Architectural Record Magazine has been a staple in the architecture industry for over a century and I've recently subscribed to it. I've been thoroughly pleased with the content it provides, offering a well-rounded mix of design inspiration, professional strategies, and the latest industry news. The magazine is filled with striking visuals, detailed articles, and practical tips that are genuinely helpful in my everyday work.
However, one downside I've noticed is the occasional repetition of topics or articles. While it's great to have in-depth coverage on certain topics, it can be a bit redundant when the same subject appears multiple times in a single issue. Despite this, the subscription still offers a wealth of valuable information, making it a worthwhile investment for anyone in the field.

🔗Graphis Journal 380: Inspiring Designs & Creativity

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As a lover of all things art and design, I recently got my hands on the Graphis Journal 380. This quarterly publication has been a refreshing addition to my reading routine, and the moment I opened it, I was drawn in by the stunning visuals.
Being a fan of photography, I was particularly impressed by the quality and range of images featured in this issue. It's rare to find a magazine that provides such a comprehensive look at the creative minds behind the lens, from well-known names like Henry Leutwyler to promising new talents.
One of the highlights for me was the deep dive into the work of Armando Milani, a renowned designer who has made a significant impact in the world of advertising. His insights and explanations of his creative process were enlightening and inspired me to think differently about my own work.
However, the content can be quite dense, and some of the articles may be a bit challenging to fully understand, especially if you're new to the field of design. Nonetheless, it's a small price to pay for the wealth of knowledge and inspiration that this journal provides.
In conclusion, if you're a design enthusiast looking to keep up with the latest trends and stay inspired by the world's creative powerhouses, the Graphis Journal 380 is a must-read. It's not just a magazine, but a visual feast that will keep you coming back for more.

🔗21° Extended Capacity Magazine for RYOBI Nailer

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I recently tried the RYOBI 21° Extended Capacity Magazine, and I have to say, it's a game-changer for my framing projects. It holds two full strips of nails, allowing me to work for longer without interruptions. The extended capacity is a lifesaver when I'm tackling larger projects. I particularly appreciate the bottom loading design, making it quick and easy to install, and the compatibility with my RYOBI PBL345B nailer.
However, it's worth mentioning that this is a consumable item and may require frequent replacement. Additionally, the operator's manual is included with the purchase, but I wish there were more installation instructions available.

🔗PMAG +5 Extension for Magpul 380 Magazine

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As a gun enthusiast myself, I recently tried out the Shield Arms PMAG +5 Extension, and I must say, it's a game-changer for your Magpul PMAG magazines. The ease of access this extension offers is remarkable - no more struggling to remove the extension from the magazine body.
You can quickly reach the spring and follower without any fuss. However, the only drawback I encountered was the slight difficulty in fitting the extension onto my Magpul PMAG, but once it's in place, it works like a charm. Overall, I highly recommend this product to those in search of a reliable and easy-to-use magazine extension.

🔗RIDGID 21° Extended Capacity Magnetic Holder for Nails

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One sunny day, I decided to try out the Ridgid 21° Extended Capacity Magazine on a construction job. This little beauty holds up to two strips of nails, making my daily work so much easier. Made of strong magnesium, it was a breeze to install and I was up and running in no time.
However, there was one minor drawback. It is compatible only with Ridgid's 18V Brushless 21° Framing Nailer. But hey, that's a small price to pay for the convenience and increased productivity it provided on the jobsite. This sturdy accessory comes with a warranty, and while misuse and normal wear and tear aren't covered, I've got my fingers crossed for smooth sailing with this reliable addition to my toolkit.

Buyer's Guide

Welcome to our buyer's guide section for 380 extended magazines. In this guide, we will be discussing key features, considerations, and general advice when it comes to selecting the best 380 extended magazine for your needs.
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Important Features to Consider

• Capacity: Determine the capacity of the magazine you need. Standard capacities range from 7 to 10 rounds.
• Durability: Opt for a magazine made from high-quality materials for greater durability and longevity.
• Compatibility: Ensure the magazine is compatible with your 380 firearm model. Check manufacturer specifications to avoid compatibility issues.
• Weight: Consider the weight of the magazine, as it may affect overall firearm handling and weight distribution.

Additional Considerations

• Price: Set a budget for your magazine purchase and compare prices from various manufacturers and retailers.
• Brand Reputation: Research the reputation of the manufacturer, as it may impact the quality and reliability of the product you are considering.

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General Advice

When shopping for a 380 extended magazine, it is essential to choose a reputable manufacturer or retailer. Ensure the product is in good working condition and has been properly tested before purchase. Additionally, consider investing in protective cases to store your magazines and help maintain their condition.
In summary, when looking for a 380 extended magazine, consider factors such as capacity, durability, compatibility, and weight. Set a budget and research the manufacturer's reputation, and don't forget about the importance of proper storage and maintenance. With these tips in mind, you'll be well-equipped to find the best 380 extended magazine for your needs.

FAQ

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What is a 380 Extended Magazine?

A 380 Extended Magazine is a type of ammunition magazine designed to hold a larger number of. 380 caliber rounds. This extended magazine typically holds more rounds than the standard-capacity magazine, providing shooters with increased firepower.

Who needs a 380 Extended Magazine?

People who need a 380 Extended Magazine are typically those who use. 380 caliber firearms and require a higher capacity magazine for extended periods of shooting, hunting, or self-defense.
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What are the benefits of using an extended magazine over a standard magazine?

• Increased capacity for more rounds
• Reduced need for frequent reloading
• Extended shooting time during emergencies or self-defense situations

What are some recommended brands for 380 Extended Magazines?

There are several reputable manufacturers that produce high-quality 380 Extended Magazines, such as Mecgar, Winchester, and Walther. Research and choose a brand that suits your needs and preferences.

Are there any safety concerns when using an extended magazine?

When handling or using an extended magazine, it is crucial to follow basic firearm safety rules and ensure that the magazine is properly seated in the firearm. Overloading a magazine can lead to improper functioning, which may result in accidents. It is always best to consult with a firearms expert or follow the recommendations provided by the specific magazine manufacturer.

Can I use an extended magazine with my existing firearm?

To determine if you can use an extended magazine with your existing firearm, first check the firearm's specifications and compatibility with an extended magazine. Some firearms may require modifications or an adapter to accommodate the larger-sized magazine. Consult the firearm's manual or contact the manufacturer for proper guidance.

How much do 380 Extended Magazines typically cost?

The cost of 380 Extended Magazines can vary based on the brand, capacity, and features. Prices typically range from $20 to $40. Be sure to compare prices and quality before making a purchase.

What is the best way to store a. 380 Extended Magazine?

Store your. 380 Extended Magazine in a secure, cool, and dry place, away from direct sunlight and extreme temperatures. Consider using a magazine pouch or protective case to prevent damage and ensure the magazine remains in good working condition.
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