Curt Doolittle

Source: Original Site Post

  • Why Do Punishments for Crimes Vary?

    WHY DO PUNISHMENTS FOR CRIMES VARY? (from elsewhere)

    —“The reason for differences in sentencing, which are true, result from the law having three objectives 1) restitution (if possible), 2) prevention of repetition (repeating), 3) prevention of imitation (spreading). Those who have more to lose are more able to perform restitution and less likely to engage in repetition, and their punishments more likely to limit imitation. The only way to shorten punishments is to create good families good homes, good parenting, good education so that current losers have incentive not to enter the system.”—

  • Tough Love: The Reason for Asymmetry in Arrest, Prosecution, and Conviction

    Tough Love: The Reason for Asymmetry in Arrest, Prosecution, and Conviction https://t.co/6sTTd1doGw

  • Tough Love: The Reason for Asymmetry in Arrest, Prosecution, and Conviction

    TOUGH LOVE: THE REASON FOR ASYMMETRY IN ARREST, PROSECUTION, AND CONVICTION Again, assuming the same crime, the reason for asymmetry of prosecution and conviction is ‘fleeing officers, non-compliance with officers, resistance to arrest, lack of remorse, lack of family and parental guarantee of constraint, known associates, general demeanor (conform or non-conforming), behavior in custody, lack of restitution, likelihood of recidivism.” That’s why. No secret here. Everyone knows it. The fact that your family and friends pressure you into language, manner, dress, behavior, or that rivals will threaten you if you appear vulnerable or signaling mainstream conformity is no excuse – it just means you haven’t got the willpower, character, or family structure, to behave as a ‘citizen’ meaning ‘a member of commercial society demonstrating adherence to middle class (commercial) norm custom manner, and signal. Man up. Shut up. Don’t Trash Down, Gang Down, or Ghetto Down or speak, act and dress like you’re rebelling against the commercial civilization that made your participation in it’s rewards possible – no matter how small they may be.

  • Tough Love: The Reason for Asymmetry in Arrest, Prosecution, and Conviction

    TOUGH LOVE: THE REASON FOR ASYMMETRY IN ARREST, PROSECUTION, AND CONVICTION Again, assuming the same crime, the reason for asymmetry of prosecution and conviction is ‘fleeing officers, non-compliance with officers, resistance to arrest, lack of remorse, lack of family and parental guarantee of constraint, known associates, general demeanor (conform or non-conforming), behavior in custody, lack of restitution, likelihood of recidivism.” That’s why. No secret here. Everyone knows it. The fact that your family and friends pressure you into language, manner, dress, behavior, or that rivals will threaten you if you appear vulnerable or signaling mainstream conformity is no excuse – it just means you haven’t got the willpower, character, or family structure, to behave as a ‘citizen’ meaning ‘a member of commercial society demonstrating adherence to middle class (commercial) norm custom manner, and signal. Man up. Shut up. Don’t Trash Down, Gang Down, or Ghetto Down or speak, act and dress like you’re rebelling against the commercial civilization that made your participation in it’s rewards possible – no matter how small they may be.

  • Except I am not sure film matters any longer. The Serial has won

    Except I am not sure film matters any longer. The Serial has won. https://t.co/AizPpf5V3b

  • Except I am not sure film matters any longer. The Serial has won.

    Oct 21, 2019, 9:55 PM FORMULA FOR A FILM SCRIPT: PAGES By Gene Turnbow (Quora) As much as I wish it weren’t so, there is still a formula for a film script. Your action had better start before page 10 or you’re toast. This is about 10% of the way through your script, and it’s the opportunity for things to begin changing. The lead character begins the journey, something important happens that throws the future in doubt, and off they go. By about the 15% mark, the main character is settling into the groove of exploring the situation, either emotionally or physically. By the 25% mark, it starts to become clear that there is a specific situation that needs to be resolved, and the lead character needs to start applying themselves to the task in earnest. Your main character needs to have his or her epiphany around page 55 of a 110 page script. That’s the point of no return. Moving forward from here means there’s no going back. The lead character is now fully committed to whatever it is that must be done. The stakes become more clear, and the details of the complications unfold. At the 75% mark, there is a major setback. This sets the stage for the final conflict or battle, again, whether it’s physical or emotional. The final push for resolution begins. At the 90% mark, it’s time for the final conflict that the entire film is leading up to. Against all odds, the girl gets the boy; the boy gets the girl; the girl frees her city; the beleaguered improbable company lands its first big contract; the planet killer is destroyed. Then at the end, some kind of closure happens. We get to see that happily ever after as a payoff for sitting through all that, but it means something to us now because we understand what’s been at stake and how hard the character has had to fight to get there. Not every screenplay follows this formula, but pretty much all the successful ones do. If you’re trying to sell a screenplay, if you’re not following this, you’re going to have a very hard time. Don’t fool yourself into thinking that this formula doesn’t matter. The people who read scripts for production companies assess scripts by checking what happens at these percentage points in the script and can figure out if the script is worth reading in its entirety based on just that, in a matter of about three minutes. The slush piles are piled high with scripts that don’t meet this basic requirement.

  • Except I am not sure film matters any longer. The Serial has won.

    Oct 21, 2019, 9:55 PM FORMULA FOR A FILM SCRIPT: PAGES By Gene Turnbow (Quora) As much as I wish it weren’t so, there is still a formula for a film script. Your action had better start before page 10 or you’re toast. This is about 10% of the way through your script, and it’s the opportunity for things to begin changing. The lead character begins the journey, something important happens that throws the future in doubt, and off they go. By about the 15% mark, the main character is settling into the groove of exploring the situation, either emotionally or physically. By the 25% mark, it starts to become clear that there is a specific situation that needs to be resolved, and the lead character needs to start applying themselves to the task in earnest. Your main character needs to have his or her epiphany around page 55 of a 110 page script. That’s the point of no return. Moving forward from here means there’s no going back. The lead character is now fully committed to whatever it is that must be done. The stakes become more clear, and the details of the complications unfold. At the 75% mark, there is a major setback. This sets the stage for the final conflict or battle, again, whether it’s physical or emotional. The final push for resolution begins. At the 90% mark, it’s time for the final conflict that the entire film is leading up to. Against all odds, the girl gets the boy; the boy gets the girl; the girl frees her city; the beleaguered improbable company lands its first big contract; the planet killer is destroyed. Then at the end, some kind of closure happens. We get to see that happily ever after as a payoff for sitting through all that, but it means something to us now because we understand what’s been at stake and how hard the character has had to fight to get there. Not every screenplay follows this formula, but pretty much all the successful ones do. If you’re trying to sell a screenplay, if you’re not following this, you’re going to have a very hard time. Don’t fool yourself into thinking that this formula doesn’t matter. The people who read scripts for production companies assess scripts by checking what happens at these percentage points in the script and can figure out if the script is worth reading in its entirety based on just that, in a matter of about three minutes. The slush piles are piled high with scripts that don’t meet this basic requirement.

  • Natural Law on Marriage – for The Interested

    Natural Law on Marriage – for The Interested https://t.co/LGwOLx70BF

  • Natural Law on Marriage – for The Interested

    Marriage is a private contract yes, but it is insured by the community, because of the consequences of broken families placing a burden via moral hazard on the community. So, a marriage contract consists (under natural law) as partnership (not corporation) constructed by the mutual exchange of powers of attorney limited only by those limitations stated, but insured by the polity, and therefore the law (judiciary), against interference that would cause harm unrestitutable harm to family members. As such interference in a marriage exposes one to liability for (very large) damages. And distribution of fault is determined court if not determined by the parties. There is no community property. The children are not property but the insurer of the children, and the polity from the children like any other domesticated animal. The law can have no position on divorce, other than empirical, which is that immature children are the responsibility of the mother in the event of a divorce. Mature children may decide which to live with if parents accept their responsibility as insurer. Upon maturity (puberty) that decision belongs to the children. But no liability exists in either direction. That means no alimony, no child support. Because marriages are transitory, and while a woman may sell her sex, affection, and caretaking the man must sell his productivity.

  • Natural Law on Marriage – for The Interested

    Marriage is a private contract yes, but it is insured by the community, because of the consequences of broken families placing a burden via moral hazard on the community. So, a marriage contract consists (under natural law) as partnership (not corporation) constructed by the mutual exchange of powers of attorney limited only by those limitations stated, but insured by the polity, and therefore the law (judiciary), against interference that would cause harm unrestitutable harm to family members. As such interference in a marriage exposes one to liability for (very large) damages. And distribution of fault is determined court if not determined by the parties. There is no community property. The children are not property but the insurer of the children, and the polity from the children like any other domesticated animal. The law can have no position on divorce, other than empirical, which is that immature children are the responsibility of the mother in the event of a divorce. Mature children may decide which to live with if parents accept their responsibility as insurer. Upon maturity (puberty) that decision belongs to the children. But no liability exists in either direction. That means no alimony, no child support. Because marriages are transitory, and while a woman may sell her sex, affection, and caretaking the man must sell his productivity.