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Critic Jack Mathews wrote: "Without being familiar with the source material, you really have no idea how much work went into the adaptation or how well it was done.... 'Precious: Based on the Novel 'Push' by Sapphire'... First-time screenwriter Geoffrey Fletcher did yeoman's work turning Sapphire's graphic, idiomatic novel into a coherent and inspiring story about the journey of an abused Harlem teenager." [55]

Erin Aubry Kaplan writes on Salon.com that the question posed by the film is how to assess the "hopeless story of a ghetto teen... in the Age of Obama." She goes on to say that "'Precious' proves you don't always have to choose between artistic and commercial success; the film's first opening weekend was record-breaking. It's a sign how much we needed to tell this story. And, perhaps, how many stories there are left to tell." [56]

A. O. Scott identifies the script's precise use of force and adept use of language, including a memorable line created by Fletcher for the adaptation: a "risky, remarkable film adaptation, written by Geoffrey Fletcher, the facts of Precious's life are also laid out with unsparing force (though not in overly graphic detail). But just as Push achieves an eloquence that makes it far more than a fictional diary of extreme dysfunction, so too does Precious avoid the traps of well-meaning, preachy lower-depths realism. It howls and stammers, but it also sings...Inarticulate and emotionally shut down, her massive body at once a prison and a hiding place, Precious is also perceptive and shrewd, possessed of talents visible only to those who bother to look. At its plainest and most persuasive, her story is that of a writer discovering a voice. 'These people talked like TV stations I didn't even watch,' she remarks of Ms. Rain and her lover (Kimberly Russell), displaying her awakening literary intelligence even as she marvels at the discovery of her ignorance." [57]

Conversely, reflecting the transformation from script to screen, Dana Stevens of Slate disagrees with Gleiberman's suggestion that the "film makes you think" and argues that the film's "eagerness" to "drag" the audience "through the lower depths of human experience" leaves little space for independent "conclusions". Stevens noted that while the film is about improvement and self-actualization, "it wields an awfully large cudgel" in contrast to Scott's view of balance: "unsparing force (though not in overly graphic detail)". Perhaps sharing Mathews' view regarding the daunting challenge of adapting the harsh story of Push , Stevens' observes that "Daniels and Fletcher no doubt intended for their film to lend a voice to the kind of protagonist too often excluded from American movie screens: a poor, black, overweight single mother from the inner city." [58]

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Backlogs of work needing to be done is a consistent challenge in Wikipedia. One of them is the backlog of articles needing review , which when ACTRIAL started contained more than 14,000 articles; the issue of keeping up with the influx of articles being created was arguably one of the motivations for the trial. During the trial, this backlog has been reduced considerably, mainly accomplished during a backlog drive from mid-December through January. Prior to and after that drive, there were long periods of general stability in the backlog. Typically, patrolling work is in balance with the influx of articles being reviewed, something we also find is the case for the first part of the trial (related measure of Hypothesis 9 [h 10] ).

For the Draft namespace, we see a significant increase in page creations together with an increase in submissions to AfC (Hypothesis 16 [h 11] ). We see indications that people reviewing Articles for Creation struggle with keeping up; their backlog of pending reviews increases more rapidly during the first two months of ACTRIAL than any previous period in our dataset (Hypothesis 17 [h 12] ). They continue to be “severely backlogged”, per the description of their backlog on the AfC project page.

This shift of content creation from the article to the Draft namespace is worrisome. Previous research [4] has shown that the AfC process is not as collaborative as creating content in the article namespace. It’s problematic if Wikipedia derails contributions by new users into a space where collaboration does not happen, leaving the newcomer to figure everything out on their own.

Graph of the number of articles in the New Pages Patrol backlog during the trial. Dotted line indicates the beginning of ACTRIAL on Sept 14th, 2017.

Graph created by Insertcleverphrasehere showing the age of articles in the New Page Patrol backlog as of March 12, 2018. Green signifies articles younger than one month, orange articles are one to three months old.

Screenshot of the AfC project page on March 13, 2018, showing the "severely backlogged" status.

Graph of AfC submissions per day from the Draft namespace. Dotted line indicates the beginning of ACTRIAL on Sept 14th, 2017.

Multiple indicators point to a significantly lower influx of unencyclopedic content in the article (Main) namespace. Some of this content appears to be created in the Draft namespace. For articles passing our "encyclopedic content" criteria, there is not a significant change in quality. We also find that articles do not gain quality more rapidly during their first 30 days since creation. In other words, ACTRIAL appears to be successful in reducing the creation of low-quality articles that would typically have been deleted.

First Round Review
This Advice From IDEO's Nicole Kahn Will Transform the Way You Give Presentations
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“Stories are the way our teams get excited, aligned, and rallied around the same goal,” says long-time Project Lead Nicole Kahn . “But more importantly, we know that our designs don’t live on with our clients without a good story attached to them. This is something we wanted to shift — to ensure that all of our designers would also see themselves as storytellers.”

we know that our designs don’t live on with our clients without a good story attached to them.

Kahn, along with a team of fellow storytellers, has helped champion this philosophy through events they've held at IDEO offices across the country. The goal: to provide a model for what good presentations look like, while also giving designers a chance to talk about what inspires their creativity, and get solid feedback from an audience of their peers.

At First Round’s recent Design+Startup event, Kahn shared lessons she and her teammates have compiled, which have become a set of best practices for giving high-impact presentations.

Run the Bar Test

“Bars are friendly, social places, sure, but something really important happens when you’re at a bar,” says Kahn. “You use really direct language. You make sure that what you’re saying is entertaining and engaging. You don’t quote tons of data. You don’t use overly corporate language — except maybe in air quotes.”

These experiences show that we all have an innate sense of what makes a good story, but we tend to forget it at work. So, how would you give your presentation at a bar? What if you only had the backs of napkins for graphics? How would that change the way you related information?

These experiences show that we all have an innate sense of what makes a good story, but we tend to forget it at work.

“By bringing the Bar Test into the work environment, we’re more able to answer this question: What’s the point?” Kahn says. “When we’re in the middle of a project, the sheer number of stories we could tell about it are as numerous as stars in the sky, and we get really excited to share them all to show what we’ve done, but we can’t do that.”

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