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...

85 Commits

Author SHA1 Message Date
Richard Harding d708744822 Clean up tests/changes to merge into 0.3.0.dev 12 years ago
Jerry Charumilind eefb8e1125 Implement duplicate page detection
This adds detection of duplicate pages to avoid adding duplicate pages to a
multi-page article.  It adds a simple unit test and regenerates the nytimes
regression test with the new, and more correct, result.  Previously, we were
including page 2 again after page 5.

Conflicts:

	src/readability_lxml/readability.py
12 years ago
Richard Harding c931a80ba8 Tweak tests post merging 12 years ago
Jerry Charumilind 883a02ad5d Add a regression for a multi-page nytimes article
It does not quite work yet, as we wrongly pull in page 2 at the end of the
article due to yet-to-be-implemented duplicate avoidance.

Conflicts:

	src/readability_lxml/readability.py
	src/tests/gen_test.py
	src/tests/regression.py
12 years ago
Richard Harding cfc6f94634 Fix test for the multipage test with actual content 12 years ago
Jerry Charumilind 816c66482e Improve unit test for basic multi-page handling
The test now actually asserts something instead of just printing some stuff out
for manual inspection.

Conflicts:

	src/readability_lxml/readability.py
12 years ago
Richard Harding 99d5fc0a87 Update for merge with Jerry Checkpoint multi-page readability work 12 years ago
Jerry Charumilind f02fe79840 Checkpoint multi-page readability work
Restructured code to better support multi-page readability.  Improved tests.

Conflicts:

	src/readability_lxml/readability.py
	src/tests/regression.py
12 years ago
Richard Harding 5cb4b8b8c0 Tweaks after the code reorg 12 years ago
Jerry Charumilind f8315d011c Checkpoint multi-page readability work
Restructured code to better support multi-page readability.  Improved tests.

Rick:
This generally works and the tests pass, but there are some broken cases with
the multipage bits that are causing me grief. It does pass the one test case.
I made the multipage an option vs doing it by default. The more I change the
code the harder future merges will be, but man it needs some cleanup, reorg,
and comments.

Conflicts:

	src/readability_lxml/readability.py
	src/tests/regression.py
12 years ago
Richard Harding 99efa5c10b PEP8 again ... 12 years ago
Richard Harding a012fd2362 urlfetch is in src 12 years ago
Jerry Charumilind 3fe416a5d1 Refactor code for easier testing
Conflicts:

	src/readability_lxml/readability.py
12 years ago
Richard Harding 8cadc4a958 Fix links in the regression test set 12 years ago
Richard Harding 9765d13e90 Garden 12 years ago
Jerry Charumilind 32d1764e83 Add scoring of next page link ancestry and href
This adds the scoring of next page link candidates' ancestry and href values
from the readability algorithm.
12 years ago
Richard Harding 0951647c8e Complete move from test_data/output to regression_test* 12 years ago
Richard Harding ace51a6819 Combine our tests with the new regresssion_test stuff 12 years ago
Jerry Charumilind 2505c78e5b Jerry Merge: First working find_next_page_link case 12 years ago
Richard Harding edc0e4d4c6 Move tests to testfile 12 years ago
Jerry Charumilind 6abc6f7ef2 Add cleaning of short segments
Conflicts:

	src/readability_lxml/readability.py
12 years ago
Jerry Charumilind 1e30e33302 Move the tests to the testfile 12 years ago
Richard Harding e8a6250605 Clean up merge, put tests in right place, adjust imports 12 years ago
Jerry Charumilind 62df35570d Checkpoint of multi-page article work
This implements some basic tools needed by the multi-page article algorithm.

Conflicts:

	src/readability_lxml/readability.py
12 years ago
Richard Harding 29fceeb4b1 Fix regression to run with metadata 12 years ago
Richard Harding 6f8184be27 Doh, move the tests to the right dir 12 years ago
Richard Harding 9aef5e36b7 Move the test data into the tests/test_data dir 12 years ago
Jerry Charumilind 8988b6b767 Add comment for read_orig 12 years ago
Jerry Charumilind 7d097d5f11 Add subcommand parsing to gen_test
There are now subcommands to generate new tests or just regenerate readable
versions of old tests.

Conflicts:

	src/tests/gen_test.py
12 years ago
Jerry Charumilind b04f75239c Add option to not generate yaml file
Sometimes you just want to generate the data files without the YAML
specification.  This change lets you do that.  In doing so, I switched to use
the argparse module for argument parsing.

Conflicts:

	src/tests/gen_test.py
12 years ago
Jerry Charumilind c21f00b1ee Reorganize constants
Conflicts:

	src/tests/regression.py
12 years ago
Richard Harding 9fec245ae4 garden 12 years ago
Jerry Charumilind 6af808bc14 Add docstring briefly describing gen_test program 12 years ago
Jerry Charumilind 7980ca84c9 Add regression tests for readability results
These test cases provide a baseline from which we can start improving the
readability algorithm and making sure that we do not horribly break anything.

Conflicts:

	src/tests/regression.py
12 years ago
Richard Harding a700bb8bd4 Update makefile regression test helper to open html results 12 years ago
Jerry Charumilind bf203b5a4b Add summary page for test results
Conflicts:

	src/tests/regression.py
12 years ago
Jerry Charumilind 65989b538a Remove obsolete code
Conflicts:

	src/tests/regression.py
12 years ago
Jerry Charumilind 9b7e5bb327 Jerry Merge: Remove obsolete code 12 years ago
Jerry Charumilind 068eba19ae Jerry Merge: Add reading of test information from YAML file 12 years ago
Richard Harding 6d3ad559f6 Move test_data, add regression_test make command 12 years ago
Jerry Charumilind 5222ed0628 Jerry Merge: Initial regression test data 12 years ago
Richard Harding 6454fb3f37 Clean up merge bits a little bit 12 years ago
Richard Harding 9366436861 Merge Jerry: pull in initial set of regression tests 12 years ago
Richard Harding 7dc373e9c5 Add the title and the short title to the metadata set.
- Tested for perf. hit, 100 iterations add .03s total time.
- Added the -m flag to the cmd line client to get all metadata output.
- Added test for making sure title/short title come back as well.
12 years ago
Richard Harding b1966df1c3 Fix docs for changed method 12 years ago
Richard Harding 57694cb352 Remove the get_ in method name, doesn't fit rest of api 12 years ago
Jerry Charumilind b78d7e8501 Merge Jerry: pull in the ability to get back confidence score as well as the processed html 12 years ago
Richard Harding a2b17e757c Update readme for the build location 12 years ago
Richard Harding 3347f16d93 Fix the flipped nature of the <html> wrapping setting 12 years ago
Richard Harding 93ac1111a1 Add try it out to the readable server 12 years ago
Richard Harding 08660f6f0c PEP8 linting, so so close 12 years ago
Richard Harding 35792e7a59 garden 12 years ago
Richard Harding aa51283dff work on doing some more pep8 work on things 12 years ago
Richard Harding a4b6957be2 Update html to be a property with a getter 12 years ago
Richard Harding b0063ffb3c garden docs 12 years ago
Richard Harding 8091a75f00 fix my rst 12 years ago
Richard Harding 8f420bd950 Fix setup.py to pull the rst readme 12 years ago
Richard Harding 58c69651d3 Update README to be a rst file and clean up a little bit. 12 years ago
Richard Harding 8b0210c4dc Add a license file 12 years ago
Richard Harding 0f9da8ace4 Start some lower level unit tests 12 years ago
Richard Harding dc86283d83 Add a sample articler tester and a nyt sample to process 12 years ago
Richard Harding 2ee2fe9536 Throw some checking aroud the build_doc 12 years ago
Richard Harding ac5ef73e71 Update cli client commands, add debugging to test server 12 years ago
Richard Harding f5451356ee Make sure we update both version strings until we can figure out how to pull it into the setup.py by magic 12 years ago
Richard Harding 509aed0d9f Move the module into the readable_lxml space so that we can actually import it nicely. 12 years ago
Richard Harding 273878214f Move version to package 12 years ago
Richard Harding 674e5f9ef2 Work on adding client.py to pull out cmd line code 12 years ago
Richard Harding 1c1cbaefa5 Move the readability files into src dir 12 years ago
Richard Harding 7e57767070 Update tests to src dir 12 years ago
Richard Harding 62e153eaf8 Start to update the module for a better directory layout 12 years ago
Richard Harding d11b928504 Add credits file 12 years ago
Richard Harding a6361854a9 Update the setup.py, tweak makefile for building/cleaning/tests 12 years ago
Richard Harding b498df200b More pep8, almost there 12 years ago
Richard Harding bbb60ed077 Update the name of the summary option to 12 years ago
Jerry Charumilind cc0af7a105 Add beginnings of regression tests 13 years ago
Jerry Charumilind 82eabfc6b1 Bump version number 13 years ago
Jerry Charumilind cba19f209b Fix issue with trying to drop root node
remove_unlikely_candidates would try to drop_tree the root node if it deemed it
an unlikely candidate.  This prevents that from happening.
13 years ago
Jerry Charumilind 18fa6b5146 Bump version number for external use 13 years ago
Jerry Charumilind cdd30f625e Return confidence level when retieving summary 13 years ago
Jerry Charumilind 7aac0f0855 Return a div fragment instead of a whole HTML page 13 years ago
Jerry Charumilind ac517834e6 Convert tabs to spaces; put article in body 13 years ago
Jerry Charumilind 01247903b8 Add chardet to installation requirements 13 years ago
Jerry Charumilind 33f935e39a Expose Document in readability package 13 years ago
Jerry Charumilind 7ceb8e6d7b Change to automatically find packages 13 years ago
Jerry Charumilind 8877754d7e Add version number to track changes more easily 13 years ago

1
.gitignore vendored

@ -7,5 +7,6 @@ dist
/lib
/local
/man
/share
nosetests.xml
.coverage

@ -0,0 +1,10 @@
Yuri Baburov
facundo
gfxmonk
Jan Weiß
Jerry Charumilind
Laurent Peuch
Lee Semel
Rick Harding
Sean Brant
Tim Cuthbertson

@ -0,0 +1,201 @@
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@ -10,11 +10,17 @@ NOSE := bin/nosetests
# Tests rule!
# ###########
.PHONY: test
test: venv develop $(NOSE)
$(NOSE) --with-id -s tests
test: venv $(NOSE)
$(NOSE) --with-id -s src/tests
$(NOSE):
$(PIP) install nose pep8 coverage
$(PY) setup.py test
.PHONY: regression_test
regression_test:
$(PY) src/tests/regression.py
$(PY) -m webbrowser src/tests/regression_test_output/index.html
# #######
# INSTALL
@ -28,10 +34,11 @@ bin/python:
.PHONY: clean_venv
clean_venv:
rm -rf bin include lib local man
rm -rf bin include lib local man share
develop: lib/python*/site-packages/bookie-api.egg-link
lib/python*/site-packages/bookie-api.egg-link:
.PHONY: develop
develop: lib/python*/site-packages/readability_lxml.egg-link
lib/python*/site-packages/readability_lxml.egg-link:
$(PY) setup.py develop
@ -40,6 +47,9 @@ lib/python*/site-packages/bookie-api.egg-link:
# ###########
.PHONY: clean_all
clean_all: clean_venv
if [ -d dist ]; then \
rm -r dist; \
fi
# ###########
@ -55,4 +65,4 @@ upload:
.PHONY: version_update
version_update:
$(EDITOR) setup.py
$(EDITOR) setup.py src/readability_lxml/__init__.py

@ -1,50 +0,0 @@
This code is under the Apache License 2.0. http://www.apache.org/licenses/LICENSE-2.0
This is a python port of a ruby port of arc90's readability project
http://lab.arc90.com/experiments/readability/
In few words,
Given a html document, it pulls out the main body text and cleans it up.
It also can clean up title based on latest readability.js code.
Based on:
- Latest readability.js ( https://github.com/MHordecki/readability-redux/blob/master/readability/readability.js )
- Ruby port by starrhorne and iterationlabs
- Python port by gfxmonk ( https://github.com/gfxmonk/python-readability , based on BeautifulSoup )
- Decruft effort to move to lxml ( http://www.minvolai.com/blog/decruft-arc90s-readability-in-python/ )
- "BR to P" fix from readability.js which improves quality for smaller texts.
- Github users contributions.
Installation::
easy_install readability-lxml
or
pip install readability-lxml
Usage::
from readability.readability import Document
import urllib
html = urllib.urlopen(url).read()
readable_article = Document(html).summary()
readable_title = Document(html).short_title()
Command-line usage::
python -m readability.readability -u http://pypi.python.org/pypi/readability-lxml
Document() kwarg options:
- attributes:
- debug: output debug messages
- min_text_length:
- retry_length:
- url: will allow adjusting links to be absolute
Updates
- 0.2.5 Update setup.py for uploading .tar.gz to pypi

@ -0,0 +1,92 @@
readability_lxml
================
This is a python port of a ruby port of `arc90's readability`_ project
Given a html document, it pulls out the main body text and cleans it up.
It also can clean up title based on latest readability.js code.
Inspiration
-----------
- Latest readability.js ( https://github.com/MHordecki/readability-redux/blob/master/readability/readability.js )
- Ruby port by starrhorne and iterationlabs
- Python port by gfxmonk ( https://github.com/gfxmonk/python-readability , based on BeautifulSoup )
- Decruft effort to move to lxml ( http://www.minvolai.com/blog/decruft-arc90s-readability-in-python/ )
- "BR to P" fix from readability.js which improves quality for smaller texts.
- Github users contributions.
Try it out!
-----------
You can try out the parser by entering your test urls on the following test
service.
http://readable.bmark.us
Installation
-------------
::
$ easy_install readability-lxml
# or
$ pip install readability-lxml
Usage
------
Command Line Client
~~~~~~~~~~~~~~~~~~~
::
$ readability http://pypi.python.org/pypi/readability-lxml
$ readability /home/rharding/sampledoc.html
As a Library
~~~~~~~~~~~~
::
from readability.readability import Document
import urllib
html = urllib.urlopen(url).read()
readable_article = Document(html).summary()
readable_title = Document(html).short_title()
You can also use the `get_summary_with_metadata` method to get back other
metadata such as the confidence score found while processing the input.
::
doc = Document(html).summary_with_metadata()
print doc.html
print doc.confidence
Optional `Document` keyword argument:
- attributes:
- debug: output debug messages
- min_text_length:
- multipage: should we try to parse and combine multiple page articles?
- retry_length:
- url: will allow adjusting links to be absolute
Test and BUild Status
---------------------
Tests are run against the package at:
http://build.bmark.us/job/readability-lxml/
You can view it for build history and test status.
History
-------
- `0.2.5` Update setup.py for uploading .tar.gz to pypi
.. _arc90's readability: http://lab.arc90.com/experiments/readability/

@ -1 +0,0 @@
from .readability import Document

@ -1,589 +0,0 @@
#!/usr/bin/env python
import logging
import re
import sys
from collections import defaultdict
from lxml.etree import tostring
from lxml.etree import tounicode
from lxml.html import document_fromstring
from lxml.html import fragment_fromstring
from cleaners import clean_attributes
from cleaners import html_cleaner
from htmls import build_doc
from htmls import get_body
from htmls import get_title
from htmls import shorten_title
logging.basicConfig(level=logging.INFO)
log = logging.getLogger()
REGEXES = {
'unlikelyCandidatesRe': re.compile('combx|comment|community|disqus|extra|foot|header|menu|remark|rss|shoutbox|sidebar|sponsor|ad-break|agegate|pagination|pager|popup|tweet|twitter', re.I),
'okMaybeItsACandidateRe': re.compile('and|article|body|column|main|shadow', re.I),
'positiveRe': re.compile('article|body|content|entry|hentry|main|page|pagination|post|text|blog|story', re.I),
'negativeRe': re.compile('combx|comment|com-|contact|foot|footer|footnote|masthead|media|meta|outbrain|promo|related|scroll|shoutbox|sidebar|sponsor|shopping|tags|tool|widget', re.I),
'divToPElementsRe': re.compile('<(a|blockquote|dl|div|img|ol|p|pre|table|ul)', re.I),
#'replaceBrsRe': re.compile('(<br[^>]*>[ \n\r\t]*){2,}',re.I),
#'replaceFontsRe': re.compile('<(\/?)font[^>]*>',re.I),
#'trimRe': re.compile('^\s+|\s+$/'),
#'normalizeRe': re.compile('\s{2,}/'),
#'killBreaksRe': re.compile('(<br\s*\/?>(\s|&nbsp;?)*){1,}/'),
#'videoRe': re.compile('http:\/\/(www\.)?(youtube|vimeo)\.com', re.I),
#skipFootnoteLink: /^\s*(\[?[a-z0-9]{1,2}\]?|^|edit|citation needed)\s*$/i,
}
class Unparseable(ValueError):
pass
def describe(node, depth=1):
if not hasattr(node, 'tag'):
return "[%s]" % type(node)
name = node.tag
if node.get('id', ''):
name += '#' + node.get('id')
if node.get('class', ''):
name += '.' + node.get('class').replace(' ', '.')
if name[:4] in ['div#', 'div.']:
name = name[3:]
if depth and node.getparent() is not None:
return name + ' - ' + describe(node.getparent(), depth - 1)
return name
def to_int(x):
if not x:
return None
x = x.strip()
if x.endswith('px'):
return int(x[:-2])
if x.endswith('em'):
return int(x[:-2]) * 12
return int(x)
def clean(text):
text = re.sub('\s*\n\s*', '\n', text)
text = re.sub('[ \t]{2,}', ' ', text)
return text.strip()
def text_length(i):
return len(clean(i.text_content() or ""))
class Document:
"""Class to build a etree document out of html."""
TEXT_LENGTH_THRESHOLD = 25
RETRY_LENGTH = 250
def __init__(self, input, **options):
"""Generate the document
:param input: string of the html content.
kwargs:
- attributes:
- debug: output debug messages
- min_text_length:
- retry_length:
- url: will allow adjusting links to be absolute
"""
self.input = input
self.options = options
self.html = None
def _html(self, force=False):
if force or self.html is None:
self.html = self._parse(self.input)
return self.html
def _parse(self, input):
doc = build_doc(input)
doc = html_cleaner.clean_html(doc)
base_href = self.options.get('url', None)
if base_href:
doc.make_links_absolute(base_href, resolve_base_href=True)
else:
doc.resolve_base_href()
return doc
def content(self):
return get_body(self._html(True))
def title(self):
return get_title(self._html(True))
def short_title(self):
return shorten_title(self._html(True))
def summary(self, html_partial=False):
"""Generate the summary of the html docuemnt
:param html_partial: return only the div of the document, don't wrap
in html and body tags.
"""
try:
ruthless = True
while True:
self._html(True)
for i in self.tags(self.html, 'script', 'style'):
i.drop_tree()
for i in self.tags(self.html, 'body'):
i.set('id', 'readabilityBody')
if ruthless:
self.remove_unlikely_candidates()
self.transform_misused_divs_into_paragraphs()
candidates = self.score_paragraphs()
best_candidate = self.select_best_candidate(candidates)
if best_candidate:
article = self.get_article(candidates, best_candidate,
html_partial=html_partial)
else:
if ruthless:
log.debug("ruthless removal did not work. ")
ruthless = False
self.debug(
("ended up stripping too much - "
"going for a safer _parse"))
# try again
continue
else:
log.debug(
("Ruthless and lenient parsing did not work. "
"Returning raw html"))
article = self.html.find('body')
if article is None:
article = self.html
cleaned_article = self.sanitize(article, candidates)
article_length = len(cleaned_article or '')
retry_length = self.options.get(
'retry_length',
self.RETRY_LENGTH)
of_acceptable_length = article_length >= retry_length
if ruthless and not of_acceptable_length:
ruthless = False
# Loop through and try again.
continue
else:
return cleaned_article
except StandardError, e:
log.exception('error getting summary: ')
raise Unparseable(str(e)), None, sys.exc_info()[2]
def get_article(self, candidates, best_candidate, html_partial=False):
# Now that we have the top candidate, look through its siblings for
# content that might also be related.
# Things like preambles, content split by ads that we removed, etc.
sibling_score_threshold = max([
10,
best_candidate['content_score'] * 0.2])
# create a new html document with a html->body->div
if html_partial:
output = fragment_fromstring('<div/>')
else:
output = document_fromstring('<div/>')
best_elem = best_candidate['elem']
for sibling in best_elem.getparent().getchildren():
# in lxml there no concept of simple text
# if isinstance(sibling, NavigableString): continue
append = False
if sibling is best_elem:
append = True
sibling_key = sibling # HashableElement(sibling)
if sibling_key in candidates and \
candidates[sibling_key]['content_score'] >= sibling_score_threshold:
append = True
if sibling.tag == "p":
link_density = self.get_link_density(sibling)
node_content = sibling.text or ""
node_length = len(node_content)
if node_length > 80 and link_density < 0.25:
append = True
elif node_length <= 80 \
and link_density == 0 \
and re.search('\.( |$)', node_content):
append = True
if append:
# We don't want to append directly to output, but the div
# in html->body->div
if html_partial:
output.append(sibling)
else:
output.getchildren()[0].getchildren()[0].append(sibling)
#if output is not None:
# output.append(best_elem)
return output
def select_best_candidate(self, candidates):
sorted_candidates = sorted(candidates.values(), key=lambda x: x['content_score'], reverse=True)
for candidate in sorted_candidates[:5]:
elem = candidate['elem']
self.debug("Top 5 : %6.3f %s" % (
candidate['content_score'],
describe(elem)))
if len(sorted_candidates) == 0:
return None
best_candidate = sorted_candidates[0]
return best_candidate
def get_link_density(self, elem):
link_length = 0
for i in elem.findall(".//a"):
link_length += text_length(i)
#if len(elem.findall(".//div") or elem.findall(".//p")):
# link_length = link_length
total_length = text_length(elem)
return float(link_length) / max(total_length, 1)
def score_paragraphs(self, ):
MIN_LEN = self.options.get(
'min_text_length',
self.TEXT_LENGTH_THRESHOLD)
candidates = {}
ordered = []
for elem in self.tags(self._html(), "p", "pre", "td"):
parent_node = elem.getparent()
if parent_node is None:
continue
grand_parent_node = parent_node.getparent()
inner_text = clean(elem.text_content() or "")
inner_text_len = len(inner_text)
# If this paragraph is less than 25 characters
# don't even count it.
if inner_text_len < MIN_LEN:
continue
if parent_node not in candidates:
candidates[parent_node] = self.score_node(parent_node)
ordered.append(parent_node)
if grand_parent_node is not None and grand_parent_node not in candidates:
candidates[grand_parent_node] = self.score_node(
grand_parent_node)
ordered.append(grand_parent_node)
content_score = 1
content_score += len(inner_text.split(','))
content_score += min((inner_text_len / 100), 3)
#if elem not in candidates:
# candidates[elem] = self.score_node(elem)
#WTF? candidates[elem]['content_score'] += content_score
candidates[parent_node]['content_score'] += content_score
if grand_parent_node is not None:
candidates[grand_parent_node]['content_score'] += content_score / 2.0
# Scale the final candidates score based on link density. Good content
# should have a relatively small link density (5% or less) and be
# mostly unaffected by this operation.
for elem in ordered:
candidate = candidates[elem]
ld = self.get_link_density(elem)
score = candidate['content_score']
self.debug("Candid: %6.3f %s link density %.3f -> %6.3f" % (
score,
describe(elem),
ld,
score * (1 - ld)))
candidate['content_score'] *= (1 - ld)
return candidates
def class_weight(self, e):
weight = 0
if e.get('class', None):
if REGEXES['negativeRe'].search(e.get('class')):
weight -= 25
if REGEXES['positiveRe'].search(e.get('class')):
weight += 25
if e.get('id', None):
if REGEXES['negativeRe'].search(e.get('id')):
weight -= 25
if REGEXES['positiveRe'].search(e.get('id')):
weight += 25
return weight
def score_node(self, elem):
content_score = self.class_weight(elem)
name = elem.tag.lower()
if name == "div":
content_score += 5
elif name in ["pre", "td", "blockquote"]:
content_score += 3
elif name in ["address", "ol", "ul", "dl", "dd", "dt", "li", "form"]:
content_score -= 3
elif name in ["h1", "h2", "h3", "h4", "h5", "h6", "th"]:
content_score -= 5
return {
'content_score': content_score,
'elem': elem
}
def debug(self, *a):
if self.options.get('debug', False):
log.debug(*a)
def remove_unlikely_candidates(self):
for elem in self.html.iter():
s = "%s %s" % (elem.get('class', ''), elem.get('id', ''))
if len(s) < 2:
continue
#self.debug(s)
if REGEXES['unlikelyCandidatesRe'].search(s) and (not REGEXES['okMaybeItsACandidateRe'].search(s)) and elem.tag not in ['html', 'body']:
self.debug("Removing unlikely candidate - %s" % describe(elem))
elem.drop_tree()
def transform_misused_divs_into_paragraphs(self):
for elem in self.tags(self.html, 'div'):
# transform <div>s that do not contain other block elements into
# <p>s
#FIXME: The current implementation ignores all descendants that
# are not direct children of elem
# This results in incorrect results in case there is an <img>
# buried within an <a> for example
if not REGEXES['divToPElementsRe'].search(
unicode(''.join(map(tostring, list(elem))))):
#self.debug("Altering %s to p" % (describe(elem)))
elem.tag = "p"
#print "Fixed element "+describe(elem)
for elem in self.tags(self.html, 'div'):
if elem.text and elem.text.strip():
p = fragment_fromstring('<p/>')
p.text = elem.text
elem.text = None
elem.insert(0, p)
#print "Appended "+tounicode(p)+" to "+describe(elem)
for pos, child in reversed(list(enumerate(elem))):
if child.tail and child.tail.strip():
p = fragment_fromstring('<p/>')
p.text = child.tail
child.tail = None
elem.insert(pos + 1, p)
#print "Inserted "+tounicode(p)+" to "+describe(elem)
if child.tag == 'br':
#print 'Dropped <br> at '+describe(elem)
child.drop_tree()
def tags(self, node, *tag_names):
for tag_name in tag_names:
for e in node.findall('.//%s' % tag_name):
yield e
def reverse_tags(self, node, *tag_names):
for tag_name in tag_names:
for e in reversed(node.findall('.//%s' % tag_name)):
yield e
def sanitize(self, node, candidates):
MIN_LEN = self.options.get('min_text_length',
self.TEXT_LENGTH_THRESHOLD)
for header in self.tags(node, "h1", "h2", "h3", "h4", "h5", "h6"):
if self.class_weight(header) < 0 or self.get_link_density(header) > 0.33:
header.drop_tree()
for elem in self.tags(node, "form", "iframe", "textarea"):
elem.drop_tree()
allowed = {}
# Conditionally clean <table>s, <ul>s, and <div>s
for el in self.reverse_tags(node, "table", "ul", "div"):
if el in allowed:
continue
weight = self.class_weight(el)
if el in candidates:
content_score = candidates[el]['content_score']
#print '!',el, '-> %6.3f' % content_score
else:
content_score = 0
tag = el.tag
if weight + content_score < 0:
self.debug("Cleaned %s with score %6.3f and weight %-3s" %
(describe(el), content_score, weight, ))
el.drop_tree()
elif el.text_content().count(",") < 10:
counts = {}
for kind in ['p', 'img', 'li', 'a', 'embed', 'input']:
counts[kind] = len(el.findall('.//%s' % kind))
counts["li"] -= 100
# Count the text length excluding any surrounding whitespace
content_length = text_length(el)
link_density = self.get_link_density(el)
parent_node = el.getparent()
if parent_node is not None:
if parent_node in candidates:
content_score = candidates[parent_node]['content_score']
else:
content_score = 0
#if parent_node is not None:
#pweight = self.class_weight(parent_node) + content_score
#pname = describe(parent_node)
#else:
#pweight = 0
#pname = "no parent"
to_remove = False
reason = ""
#if el.tag == 'div' and counts["img"] >= 1:
# continue
if counts["p"] and counts["img"] > counts["p"]:
reason = "too many images (%s)" % counts["img"]
to_remove = True
elif counts["li"] > counts["p"] and tag != "ul" and tag != "ol":
reason = "more <li>s than <p>s"
to_remove = True
elif counts["input"] > (counts["p"] / 3):
reason = "less than 3x <p>s than <input>s"
to_remove = True
elif content_length < (MIN_LEN) and (counts["img"] == 0 or counts["img"] > 2):
reason = "too short content length %s without a single image" % content_length
to_remove = True
elif weight < 25 and link_density > 0.2:
reason = "too many links %.3f for its weight %s" % (
link_density, weight)
to_remove = True
elif weight >= 25 and link_density > 0.5:
reason = "too many links %.3f for its weight %s" % (
link_density, weight)
to_remove = True
elif (counts["embed"] == 1 and content_length < 75) or counts["embed"] > 1:
reason = "<embed>s with too short content length, or too many <embed>s"
to_remove = True
# if el.tag == 'div' and counts['img'] >= 1 and to_remove:
# imgs = el.findall('.//img')
# valid_img = False
# self.debug(tounicode(el))
# for img in imgs:
#
# height = img.get('height')
# text_length = img.get('text_length')
# self.debug ("height %s text_length %s" %(repr(height), repr(text_length)))
# if to_int(height) >= 100 or to_int(text_length) >= 100:
# valid_img = True
# self.debug("valid image" + tounicode(img))
# break
# if valid_img:
# to_remove = False
# self.debug("Allowing %s" %el.text_content())
# for desnode in self.tags(el, "table", "ul", "div"):
# allowed[desnode] = True
#find x non empty preceding and succeeding siblings
i, j = 0, 0
x = 1
siblings = []
for sib in el.itersiblings():
#self.debug(sib.text_content())
sib_content_length = text_length(sib)
if sib_content_length:
i =+ 1
siblings.append(sib_content_length)
if i == x:
break
for sib in el.itersiblings(preceding=True):
#self.debug(sib.text_content())
sib_content_length = text_length(sib)
if sib_content_length:
j =+ 1
siblings.append(sib_content_length)
if j == x:
break
#self.debug(str(siblings))
if siblings and sum(siblings) > 1000:
to_remove = False
self.debug("Allowing %s" % describe(el))
for desnode in self.tags(el, "table", "ul", "div"):
allowed[desnode] = True
if to_remove:
self.debug("Cleaned %6.3f %s with weight %s cause it has %s." %
(content_score, describe(el), weight, reason))
#print tounicode(el)
#self.debug("pname %s pweight %.3f" %(pname, pweight))
el.drop_tree()
for el in ([node] + [n for n in node.iter()]):
if not self.options.get('attributes', None):
#el.attrib = {} #FIXME:Checkout the effects of disabling this
pass
return clean_attributes(tounicode(node))
class HashableElement():
def __init__(self, node):
self.node = node
self._path = None
def _get_path(self):
if self._path is None:
reverse_path = []
node = self.node
while node is not None:
node_id = (node.tag, tuple(node.attrib.items()), node.text)
reverse_path.append(node_id)
node = node.getparent()
self._path = tuple(reverse_path)
return self._path
path = property(_get_path)
def __hash__(self):
return hash(self.path)
def __eq__(self, other):
return self.path == other.path
def __getattr__(self, tag):
return getattr(self.node, tag)
def main():
from optparse import OptionParser
parser = OptionParser(usage="%prog: [options] [file]")
parser.add_option('-v', '--verbose', action='store_true')
parser.add_option('-u', '--url', default=None, help="use URL instead of a local file")
(options, args) = parser.parse_args()
if not (len(args) == 1 or options.url):
parser.print_help()
sys.exit(1)
file = None
if options.url:
import urllib
file = urllib.urlopen(options.url)
else:
file = open(args[0], 'rt')
enc = sys.__stdout__.encoding or 'utf-8'
try:
print Document(file.read(),
debug=options.verbose,
url=options.url).summary().encode(enc, 'replace')
finally:
file.close()
if __name__ == '__main__':
main()

@ -1,26 +1,45 @@
#!/usr/bin/env python
from setuptools import setup, find_packages
version = "0.3.0"
install_requires = [
"chardet",
"lxml",
]
tests_require = [
'coverage',
'nose',
'pep8',
'PyYaml',
]
setup(
name="readability-lxml",
version="0.2.5",
version=version,
author="Yuri Baburov",
author_email="burchik@gmail.com",
description="fast python port of arc90's readability tool",
test_suite = "tests.test_article_only",
long_description=open("README").read(),
keywords='readable read parse html document readability',
long_description=open("README.rst").read(),
license="Apache License 2.0",
url="http://github.com/buriy/python-readability",
package_dir={'': 'readability'},
packages=find_packages('readability', exclude=["*.tests", "*.tests.*"]),
install_requires=[
"chardet",
"lxml"
],
classifiers=[
"Environment :: Web Environment",
"Intended Audience :: Developers",
"Operating System :: OS Independent",
"Programming Language :: Python",
],
],
url="http://github.com/buriy/python-readability",
packages=find_packages('src', exclude=["*.tests", "*.tests.*"]),
package_dir = {'': 'src'},
include_package_data=True,
zip_safe=False,
install_requires=install_requires,
tests_require=tests_require,
extras_require={'test': tests_require},
test_suite = "nose.collector",
entry_points={
'console_scripts':
['readability=readability_lxml:client.main']
},
)

@ -0,0 +1,3 @@
VERSION = '0.2.5'
import client

@ -1,32 +1,38 @@
# strip out a set of nuisance html attributes that can mess up rendering in RSS feeds
# strip out a set of nuisance html attributes that can mess up rendering in
# RSS feeds
import re
from lxml.html.clean import Cleaner
bad_attrs = ['width', 'height', 'style', '[-a-z]*color', 'background[-a-z]*', 'on*']
bad_attrs = ['width', 'height', 'style', '[-a-z]*color',
'background[-a-z]*', 'on*']
single_quoted = "'[^']+'"
double_quoted = '"[^"]+"'
non_space = '[^ "\'>]+'
htmlstrip = re.compile("<" # open
"([^>]+) " # prefix
"(?:%s) *" % ('|'.join(bad_attrs),) + # undesirable attributes
'= *(?:%s|%s|%s)' % (non_space, single_quoted, double_quoted) + # value
htmlstrip = re.compile("<" # open
"([^>]+) " # prefix
"(?:%s) *" % ('|'.join(bad_attrs),) + # undesirable attributes
'= *(?:%s|%s|%s)' % (non_space, single_quoted, double_quoted) + # value
"([^>]*)" # postfix
">" # end
, re.I)
">", # end
re.I)
def clean_attributes(html):
while htmlstrip.search(html):
html = htmlstrip.sub('<\\1\\2>', html)
return html
def normalize_spaces(s):
if not s: return ''
"""replace any sequence of whitespace
characters with a single space"""
"""replace any sequence of whitespace characters with a single space"""
if not s:
return ''
return ' '.join(s.split())
html_cleaner = Cleaner(scripts=True, javascript=True, comments=True,
style=True, links=True, meta=False, add_nofollow=False,
page_structure=False, processing_instructions=True, embedded=False,
frames=False, forms=False, annoying_tags=False, remove_tags=None,
page_structure=False, processing_instructions=True,
embedded=False, frames=False, forms=False,
annoying_tags=False, remove_tags=None,
remove_unknown_tags=False, safe_attrs_only=False)

@ -0,0 +1,69 @@
import argparse
import sys
from readability_lxml import VERSION
from readability_lxml.readability import Document
def parse_args():
desc = "fast python port of arc90's readability tool"
parser = argparse.ArgumentParser(description=desc)
parser.add_argument('--version',
action='version', version=VERSION)
parser.add_argument('-v', '--verbose',
action='store_true',
default=False,
help='Increase logging verbosity to DEBUG.')
parser.add_argument('-m', '--metadata',
action='store_true',
default=False,
help='print all metadata as well as content for the content')
parser.add_argument('path', metavar='P', type=str, nargs=1,
help="The url or file path to process in readable form.")
args = parser.parse_args()
return args
def main():
args = parse_args()
target = args.path[0]
if target.startswith('http') or target.startswith('www'):
is_url = True
url = target
else:
is_url = False
url = None
if is_url:
import urllib
target = urllib.urlopen(target)
else:
target = open(target, 'rt')
enc = sys.__stdout__.encoding or 'utf-8'
try:
doc = Document(target.read(),
debug=args.verbose,
url=url)
if args.metadata:
m = doc.summary_with_metadata()
print m.title()
print m.short_title()
print m.confidence
print m.html.encode(enc, 'replace')
else:
print doc.summary().encode(enc, 'replace')
finally:
target.close()
if __name__ == '__main__':
main()

@ -1,25 +1,32 @@
uids = {}
def save_to_file(text, filename):
f = open(filename, 'wt')
f.write('<meta http-equiv="Content-Type" content="text/html; charset=UTF-8" />')
f.write("""
<meta http-equiv="Content-Type"
content="text/html; charset=UTF-8"
/>""")
f.write(text.encode('utf-8'))
f.close()
uids = {}
def describe(node, depth=2):
if not hasattr(node, 'tag'):
return "[%s]" % type(node)
name = node.tag
if node.get('id', ''): name += '#'+node.get('id')
if node.get('class', ''):
name += '.' + node.get('class').replace(' ','.')
if node.get('id', ''):
name += '#' + node.get('id')
if node.get('class', ''):
name += '.' + node.get('class').replace(' ', '.')
if name[:4] in ['div#', 'div.']:
name = name[3:]
if name in ['tr', 'td', 'div', 'p']:
if not node in uids:
uid = uids[node] = len(uids)+1
uid = uids[node] = len(uids) + 1
else:
uid = uids.get(node)
name += "%02d" % (uid)
if depth and node.getparent() is not None:
return name+' - '+describe(node.getparent(), depth-1)
return name + ' - ' + describe(node.getparent(), depth - 1)
return name

@ -1,21 +1,27 @@
import logging
import re
import chardet
LOG = logging.getLogger()
def get_encoding(page):
text = re.sub('</?[^>]*>\s*', ' ', page)
enc = 'utf-8'
if not text.strip() or len(text) < 10:
return enc # can't guess
return enc # can't guess
try:
diff = text.decode(enc, 'ignore').encode(enc)
sizes = len(diff), len(text)
if abs(len(text) - len(diff)) < max(sizes) * 0.01: # 99% of utf-8
# 99% of utf-8
if abs(len(text) - len(diff)) < max(sizes) * 0.01:
return enc
except UnicodeDecodeError:
pass
res = chardet.detect(text)
enc = res['encoding']
#print '->', enc, "%.2f" % res['confidence']
# print '->', enc, "%.2f" % res['confidence']
if enc == 'MacCyrillic':
enc = 'cp1251'
return enc

@ -1,31 +1,45 @@
from cleaners import normalize_spaces, clean_attributes
from encoding import get_encoding
from lxml.html import tostring
import logging
import lxml.html
import re
from lxml.html import document_fromstring
from lxml.html import HTMLParser
from lxml.html import tostring
from cleaners import clean_attributes
from cleaners import normalize_spaces
from encoding import get_encoding
logging.getLogger().setLevel(logging.DEBUG)
utf8_parser = HTMLParser(encoding='utf-8')
LOG = logging.getLogger()
utf8_parser = lxml.html.HTMLParser(encoding='utf-8')
def build_doc(page):
"""Requires that the `page` not be None"""
if page is None:
LOG.error("Page content is None, can't build_doc")
return ''
if isinstance(page, unicode):
page_unicode = page
else:
enc = get_encoding(page)
page_unicode = page.decode(enc, 'replace')
doc = lxml.html.document_fromstring(page_unicode.encode('utf-8', 'replace'), parser=utf8_parser)
doc = document_fromstring(
page_unicode.encode('utf-8', 'replace'),
parser=utf8_parser)
return doc
def js_re(src, pattern, flags, repl):
return re.compile(pattern, flags).sub(src, repl.replace('$', '\\'))
def normalize_entities(cur_title):
entities = {
u'\u2014':'-',
u'\u2013':'-',
u'\u2014': '-',
u'\u2013': '-',
u'&mdash;': '-',
u'&ndash;': '-',
u'\u00A0': ' ',
@ -39,27 +53,33 @@ def normalize_entities(cur_title):
return cur_title
def norm_title(title):
return normalize_entities(normalize_spaces(title))
def get_title(doc):
title = doc.find('.//title').text
if not title:
title_node = doc.find('.//title')
if not title_node:
return '[no-title]'
title = title_node.text
return norm_title(title)
def add_match(collection, text, orig):
text = norm_title(text)
if len(text.split()) >= 2 and len(text) >= 15:
if text.replace('"', '') in orig.replace('"', ''):
collection.add(text)
def shorten_title(doc):
title = doc.find('.//title').text
if not title:
title_node = doc.find('.//title')
if not title_node:
return ''
title = title_node.text
title = orig = norm_title(title)
candidates = set()
@ -71,13 +91,14 @@ def shorten_title(doc):
if e.text_content():
add_match(candidates, e.text_content(), orig)
for item in ['#title', '#head', '#heading', '.pageTitle', '.news_title', '.title', '.head', '.heading', '.contentheading', '.small_header_red']:
for item in ['#title', '#head', '#heading', '.pageTitle', '.news_title',
'.title', '.head', '.heading', '.contentheading', '.small_header_red']:
for e in doc.cssselect(item):
if e.text:
add_match(candidates, e.text, orig)
if e.text_content():
add_match(candidates, e.text_content(), orig)
if candidates:
title = sorted(candidates, key=len)[-1]
else:
@ -103,13 +124,16 @@ def shorten_title(doc):
return title
def get_body(doc):
[ elem.drop_tree() for elem in doc.xpath('.//script | .//link | .//style') ]
[elem.drop_tree() for elem in doc.xpath('.//script | .//link | .//style')]
raw_html = unicode(tostring(doc.body or doc))
cleaned = clean_attributes(raw_html)
try:
#BeautifulSoup(cleaned) #FIXME do we really need to try loading it?
return cleaned
except Exception: #FIXME find the equivalent lxml error
logging.error("cleansing broke html content: %s\n---------\n%s" % (raw_html, cleaned))
except Exception: # FIXME find the equivalent lxml error
logging.error("cleansing broke html content: %s\n---------\n%s" % (
raw_html,
cleaned))
return raw_html

File diff suppressed because it is too large Load Diff

@ -0,0 +1,22 @@
import urllib2
class UrlFetch():
"""
A class for fetching URLs. This provides a layer of abstraction that can
be easily replaced for testing.
"""
def urlread(self, url):
return urllib2.urlopen(url).read()
class MockUrlFetch(UrlFetch):
def __init__(self, urldict):
self._urldict = urldict
def urlread(self, url):
path = self._urldict[url]
with open(path, 'r') as f:
return f.read()

@ -0,0 +1,174 @@
"""
This program facilitates the creation of a regression test case as used by the
test module. It uses the current readability algorithm to capture a benchmark
and construct a new test case.
"""
import argparse
import errno
import os
import os.path
import urllib2
import yaml
from readability_lxml import readability
from readability_lxml import urlfetch
from regression import (
TEST_DATA_PATH,
ORIGINAL_SUFFIX,
READABLE_SUFFIX,
YAML_EXTENSION,
adjust_url_map,
read_yaml
)
OVERWRITE_QUESTION = '%s exists; overwrite and continue (y/n)? '
def y_or_n(question):
while True:
response = raw_input(question).strip()
if len(response) > 0:
return response[0] in ['y', 'Y']
def write_file(test_name, suffix, data):
path = os.path.join(TEST_DATA_PATH, test_name + suffix)
mode = 0644
try:
fd = os.open(path, os.O_WRONLY | os.O_CREAT | os.O_EXCL, mode)
except OSError as e:
if e.errno == errno.EEXIST:
if y_or_n(OVERWRITE_QUESTION % path):
fd = os.open(path, os.O_WRONLY | os.O_CREAT | os.O_TRUNC, mode)
else:
return False
else:
raise e
f = os.fdopen(fd, 'w')
f.write(data)
return True
def write_original(test_name, orig):
return write_file(test_name, ORIGINAL_SUFFIX, orig)
def write_readable(test_name, orig, options):
rdbl_doc = readability.Document(orig, **options)
summary = rdbl_doc.summary()
return write_file(test_name, READABLE_SUFFIX, summary.html)
def read_spec(test_name):
yaml_path = os.path.join(
TEST_DATA_PATH,
test_name + YAML_EXTENSION
)
return read_yaml(yaml_path)
def read_orig(test_name, url = None):
"""
Reads the original HTML for a given test. If a url is provided, the HTML
is fetched from it. Otherwise, we look for an existing local copy. This
returns a pair: (HTML string, True iff the HTML has been or is already
stored in a local copy).
"""
if url:
orig = urllib2.urlopen(url).read()
write_result = write_file(test_name, ORIGINAL_SUFFIX, orig)
return orig, write_result
else:
orig_path = os.path.join(
TEST_DATA_PATH,
test_name + ORIGINAL_SUFFIX
)
orig = open(orig_path).read()
return orig, True
def create(args):
# TODO: Make this work for multi-page articles.
spec_dict = {'url': args.url, 'test_description': args.test_description}
spec = yaml.dump(spec_dict, default_flow_style = False)
if not write_file(args.test_name, YAML_EXTENSION, spec):
return False
orig = urllib2.urlopen(url).read()
if not write_original(args.test_name, orig):
return False
if not write_readable(args.test_name, orig):
return False
return True
def genbench(args):
spec_dict = read_spec(args.test_name)
if args.refetch:
url = spec_dict['url']
else:
url = None
url_map = adjust_url_map(spec_dict.get('url_map', dict()))
fetcher = urlfetch.MockUrlFetch(url_map)
options = {'url': spec_dict['url'], 'urlfetch': fetcher}
orig, success = read_orig(args.test_name, url)
if not success:
return False
rdbl_doc = readability.Document(orig, **options)
summary = rdbl_doc.summary()
if not write_file(args.test_name, READABLE_SUFFIX, summary.html):
return False
return True
DESCRIPTION = 'Create a readability regression test case.'
def main():
parser = argparse.ArgumentParser(description = DESCRIPTION)
subparsers = parser.add_subparsers(help = 'available subcommands')
parser_create = subparsers.add_parser(
'create',
help = 'create an entirely new test'
)
parser_create.add_argument(
'url',
metavar = 'url',
help = 'the url for which to generate a test'
)
parser_create.add_argument(
'test_name',
metavar = 'test-name',
help = 'the name of the test'
)
parser_create.add_argument(
'test_description',
metavar = 'test-description',
help = 'the description of the test'
)
parser_create.set_defaults(func = create)
parser_genbench = subparsers.add_parser(
'genbench',
help = 'regenerate the benchmark for an existing test'
)
parser_genbench.add_argument(
'test_name',
metavar = 'test-name',
help = 'the name of the test'
)
parser_genbench.add_argument(
'--refetch',
dest = 'refetch',
action = 'store_const',
const = True,
default = False,
help = 'if set, original html is refetched from the url'
)
parser_genbench.set_defaults(func = genbench)
args = parser.parse_args()
result = args.func(args)
if not result:
print('test was not fully generated')
if __name__ == '__main__':
main()

@ -0,0 +1,15 @@
import os
SAMPLES = os.path.join(os.path.dirname(__file__), 'samples')
REGRESSION_DATA = os.path.join(os.path.dirname(__file__), 'regression_test_data')
def load_sample(filename):
"""Helper to get the content out of the sample files"""
return open(os.path.join(SAMPLES, filename)).read()
def load_regression_data(filename):
"""Get the content of a test_data regression file"""
return open(os.path.join(REGRESSION_DATA, filename)).read()

@ -0,0 +1,354 @@
"""
This module provides a regression test for results of running the readability
algorithm on a variety of different real-world examples. For each page in the
test suite, a benchmark was captured that represents the current readability
results. Note that these are not necessarily ideal results, just the ones used
as a benchmark.
This allows you to tweak and change the readability algorithm and see how it
changes existing results, hopefully for the better.
"""
import logging
import lxml.html
import lxml.html.diff
import os
import os.path
import re
import sys
import unittest
import yaml
from lxml.html import builder as B
from readability_lxml import readability
from readability_lxml import urlfetch
DIFF_SUFFIX = '-diff.html'
ORIGINAL_SUFFIX = '-orig.html'
READABLE_SUFFIX = '-rdbl.html'
RESULT_SUFFIX = '-result.html'
YAML_EXTENSION = '.yaml'
TESTDIR = os.path.dirname(__file__)
TEST_DATA_PATH = os.path.join(TESTDIR, 'regression_test_data')
TEST_OUTPUT_PATH = os.path.join(TESTDIR, 'regression_test_output')
TEST_SUMMARY_PATH = os.path.join(TEST_OUTPUT_PATH, 'index.html')
SUMMARY_CSS = '''
table, th, td {
border: 1px solid black;
border-collapse: collapse;
font-family: Georgia, 'Times New Roman', serif;
}
table {
margin: auto;
}
.skipped {
color: gray;
}
td, th {
font-size: 1.2em;
border: 1px solid black;
padding: 3px 7px 2px 7px;
}
th {
font-size: 16px;
text-align: left;
padding-top: 5px;
padding-bottom: 4px;
}
'''
READABILITY_CSS = '''
#article {
margin: 0 auto;
max-width: 705px;
min-width: 225px;
font-family: Georgia, 'Times New Roman', serif;
font-size: 19px;
line-height: 29px;
}
#article p {
font-size: 19px;
line-height: 29px;
margin: 19px 0px 19px 0px;
}
ins {
background-color: #C6F7C3;
text-decoration: none;
}
ins img {
border-width: 3px;
border-style: dotted;
border-color: #51B548;
}
del {
background-color: #F7C3C3;
text-decoration: none;
}
del img {
border-width: 3px;
border-style: dotted;
border-color: #D12626;
}
'''
class ReadabilityTest:
def __init__(
self,
dir_path,
enabled,
name,
url,
desc,
notes,
url_map,
orig_path,
rdbl_path
):
self.dir_path = dir_path
self.enabled = enabled
self.name = name
self.url = url
self.desc = desc
self.notes = notes
self.url_map = url_map
self.orig_path = orig_path
self.rdbl_path = rdbl_path
class ReadabilityTestData:
def __init__(self, test, orig_html, rdbl_html):
self.test = test
self.orig_html = orig_html
self.rdbl_html = rdbl_html
class ReadabilityTestResult:
def __init__(self, test_data, result_html, diff_html):
self.test_data = test_data
self.result_html = result_html
self.diff_html = diff_html
def read_yaml(path):
with open(path, 'r') as f:
return yaml.load(f)
def make_path(dir_path, name, suffix):
return os.path.join(dir_path, ''.join([name, suffix]))
def adjust_url_map(url_map):
adjusted = dict()
for k, v in url_map.items():
adjusted[k] = os.path.join(TEST_DATA_PATH, v)
return adjusted
def make_readability_test(dir_path, name, spec_dict):
enabled = spec_dict.get('enabled', True)
notes = spec_dict.get('notes', '')
url_map = adjust_url_map(spec_dict.get('url_map', dict()))
return ReadabilityTest(
dir_path,
enabled,
name,
spec_dict['url'],
spec_dict['test_description'],
notes,
url_map,
make_path(dir_path, name, ORIGINAL_SUFFIX),
make_path(dir_path, name, READABLE_SUFFIX)
)
def load_test_data(test):
if test.enabled:
orig = open(test.orig_path, 'r').read()
rdbl = open(test.rdbl_path, 'r').read()
return ReadabilityTestData(test, orig, rdbl)
else:
return None
def load_readability_tests(dir_path, files):
yaml_files = [f for f in files if f.endswith(YAML_EXTENSION)]
yaml_paths = [os.path.join(dir_path, f) for f in yaml_files]
names = [re.sub('.yaml$', '', f) for f in yaml_files]
spec_dicts = [read_yaml(p) for p in yaml_paths]
return [
make_readability_test(dir_path, name, spec_dict)
for (name, spec_dict) in zip(names, spec_dicts)
]
def execute_test(test_data):
if test_data is None:
return None
else:
url = test_data.test.url
fetcher = urlfetch.MockUrlFetch(test_data.test.url_map)
doc = readability.Document(
test_data.orig_html,
url=url,
urlfetch=fetcher
)
summary = doc.summary_with_metadata()
diff = lxml.html.diff.htmldiff(test_data.rdbl_html, summary.html)
return ReadabilityTestResult(test_data, summary.html, diff)
def element_string_lengths(elems):
return [len(e.xpath('string()')) for e in elems]
class ResultSummary():
def __init__(self, result):
# logging.debug('diff: %s' % result.diff_html)
doc = lxml.html.fragment_fromstring(result.diff_html)
insertions = doc.xpath('//ins')
insertion_lengths = element_string_lengths(insertions)
self.insertions = sum(insertion_lengths)
self.insertion_blocks = len(insertions)
deletions = doc.xpath('//del')
deletion_lengths = element_string_lengths(deletions)
self.deletions = sum(deletion_lengths)
self.deletion_blocks = len(deletions)
pass
def make_summary_row(test, result):
def data(suffix):
return os.path.abspath(os.path.join(TEST_DATA_PATH, test.name + suffix))
def output(suffix):
return test.name + suffix
if test.enabled:
s = ResultSummary(result)
return B.TR(
B.TD(test.name),
B.TD('%d (%d)' % (s.insertions, s.insertion_blocks)),
B.TD('%d (%d)' % (s.deletions, s.deletion_blocks)),
B.TD(
B.A('original', href = data(ORIGINAL_SUFFIX)),
' ',
B.A('benchmark', href = output(READABLE_SUFFIX)),
' ',
B.A('result', href = output(RESULT_SUFFIX)),
' ',
B.A('diff', href = output(DIFF_SUFFIX))
),
B.TD(test.notes)
)
else:
return B.TR(
B.CLASS('skipped'),
B.TD('%s (SKIPPED)' % test.name),
B.TD('N/A'),
B.TD('N/A'),
B.TD('N/A'),
B.TD(test.notes)
)
def make_summary_doc(tests_w_results):
tbody = B.TBODY(
B.TR(
B.TH('Test Name'),
B.TH('Inserted (in # of blocks)'),
B.TH('Deleted (in # of blocks)'),
B.TH('Links'),
B.TH('Notes')
)
)
for (test, result) in tests_w_results:
row = make_summary_row(test, result)
tbody.append(row)
return B.HTML(
B.HEAD(
B.TITLE('Readability Test Summary'),
B.STYLE(SUMMARY_CSS, type = 'text/css')
),
B.BODY(
B.TABLE(
tbody
)
)
)
def write_summary(path, tests_w_results):
doc = make_summary_doc(tests_w_results)
with open(path, 'w') as f:
f.write(lxml.html.tostring(doc))
def add_css(doc):
style = B.STYLE(READABILITY_CSS, type = 'text/css')
head = B.HEAD(style, content = 'text/html; charset=utf-8')
doc.insert(0, head)
def write_output_fragment(fragment, output_dir_path, test_name, suffix):
doc = lxml.html.document_fromstring(fragment)
add_css(doc)
html = lxml.html.tostring(doc)
file_name = ''.join([test_name, suffix])
path = os.path.join(output_dir_path, file_name)
with open(path, 'w') as f:
f.write(html)
def write_result(output_dir_path, result):
test_name = result.test_data.test.name
specs = [
(result.test_data.rdbl_html, READABLE_SUFFIX),
(result.diff_html, DIFF_SUFFIX),
(result.result_html, RESULT_SUFFIX)
]
for (html, suffix) in specs:
write_output_fragment(html, output_dir_path, test_name, suffix)
def print_test_info(test):
name_string = '%s' % test.name
if test.enabled:
skipped = ''
else:
skipped = ' (SKIPPED)'
print('%20s: %s%s' % (name_string, test.desc, skipped))
def run_readability_tests():
files = os.listdir(TEST_DATA_PATH)
tests = load_readability_tests(TEST_DATA_PATH, files)
test_datas = [load_test_data(t) for t in tests]
results = [execute_test(t) for t in test_datas]
for (test, result) in zip(tests, results):
print_test_info(test)
if result:
write_result(TEST_OUTPUT_PATH, result)
write_summary(TEST_SUMMARY_PATH, zip(tests, results))
def main():
logging.basicConfig(level = logging.DEBUG)
if len(sys.argv) > 1 and sys.argv[1] == 'unittest':
del sys.argv[1]
return unittest.main()
run_readability_tests()
if __name__ == '__main__':
main()

@ -0,0 +1,664 @@
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<h2 class="title">June Web browser stats: Rapid Release edition</h2>
<div class="byline"><span class="author">By <a rel="author" href="/author/peter-bright/">Peter Bright</a>
</span> | <span class="posted"><span class="published updated"><span class="name">Published </span> <abbr class="timeago datetime" title="2011-07-06T16:00:00Z">July 6, 2011 11:00 AM</abbr></span><span class="modified" style="display:none;"><span class="name">Last updated </span> <abbr class="timeago datetime" title="2011-07-06T16:33:33Z">July 6, 2011 11:33 AM</abbr></span></span></div>
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<!--body--><p>June brought the first result of Mozilla's new Rapid Release strategy for Firefox. Firefox 4, just three months old, was superceded by the all-new but not-too-different <a href="http://arstechnica.com/open-source/news/2011/06/firefox-5-released-arrives-only-three-months-after-firefox-4.ars">Firefox 5</a>. Firefox's market growth was all but ended by the release of Chrome, and Mozilla is hoping that by adopting a similar release schedule to Google, it will be able to reignite the growth of its user base.</p><!--page 1-->
<p>Internet Explorer is down 0.59 points at 53.68 percent. Firefox is essentially unchanged, down 0.04 points to 21.67 percent. Chrome is up 0.59 points to 13.11 percent. Safari is also up, gaining 0.2 points to reach 7.48 percent. Opera dropped 0.3 points to 1.73 percent.</p>
<div style="width: 640px;" class="news-item-figure CenteredImage"><div class="news-item-figure-image" style=""><img src="http://static.arstechnica.com/browsers-june-2011/global-browser-share.png" /></div><div class="news-item-figure-caption"><div class="news-item-figure-caption-byline"><a href="http://netmarketshare.com/">Net Applications</a></div></div></div>
<p>The trends established over the last few months are continuing: Firefox is treading water, while Internet Explorer is losing users, which seem to be being picked up by Chrome. In the past two months, Opera has dropped 0.41 points&#8212;that's a loss representing 20% of its market share. Our own Ryan Paul <a href="http://arstechnica.com/software/reviews/2011/06/hands-on-opera-1150s-new-featherweight-interface-packs-a-punch.ars">liked Opera 11.50</a>, which was released just a couple of days ago, so perhaps this will help turn around a perilous slide.</p>
<p>Looking at individual versions, Internet Explorer 6, 7, and 8 are all down, by 0.18, 0.46, and 1.21 points respectively. Internet Explorer 9 made strong gains, of 1.44 points, but not enough to undo the losses. Internet Explorer 9's gains seem to be occurring at the expense of older versions&#8212;Internet Explorer 8 on Windows 7, versions 7 and 8 on Windows Vista&#8212;rather than making converts of the other browsers.</p>
<div style="width: 640px;" class="news-item-figure CenteredImage"><div class="news-item-figure-image" style=""><img src="http://static.arstechnica.com/browsers-june-2011/internet-explorer-transition.png" /></div><div class="news-item-figure-caption"><div class="news-item-figure-caption-byline"><a href="http://netmarketshare.com/">Net Applications</a></div></div></div>
<p>Internet Explorer 9 is of course at something of a disadvantage, as it won't run on Windows XP. While we <a href="http://arstechnica.com/microsoft/news/2010/04/why-microsoft-did-the-right-thing-in-ditching-xp-for-ie9.ars">agree with the decision to cut Windows XP off</a>, one consequence is that not a single Internet Explorer 6 user can upgrade to Internet Explorer 9. Nor can anyone using Internet Explorer 7 or 8 on Windows XP. If the focus is narrowed from all users to just those using Windows 7, the Internet Explorer 9 situation looks a little more promising. Though Internet Explorer 8, which ships with Windows 7, commands the highest market share, at 38.47 percent of Windows 7 users, Internet Explorer 9 takes second place, at 15.61 percent&#8212;putting it ahead of Firefox 4 and Chrome 12, at 13.74 and 11.60 percent, respectively.</p>
<p>Internet Explorer 9 seems, therefore, to be performing well among users of Microsoft's latest and greatest operating system; it's just that only 27 percent of the global audience is running that platform. Windows XP still commands a slim majority, with a global share of 51 percent. As Windows XP declines and Windows 7 grows, we can expect to see Internet Explorer 9 lifted by this transition.</p>
<div style="width: 640px;" class="news-item-figure CenteredImage"><div class="news-item-figure-image" style=""><img src="http://static.arstechnica.com/browsers-june-2011/firefox-transition.png" /></div><div class="news-item-figure-caption"><div class="news-item-figure-caption-byline"><a href="http://netmarketshare.com/">Net Applications</a></div></div></div>
<p>Firefox versions 3.5 and 3.6 both saw drops last month, by 2.06 and 0.28 points, respectively, and versions 4 and 5 rose by 0.38 and 2.05 points, respectively. This suggests that the transition from "old" Firefox (3.x) to "modern" Firefox (4 and 5) is slowing down; in May, the 3.x versions dropped by an aggregate of more than 4.5 points, with the then-current Firefox 4 picking up all of those users. This month, only around half as many users made the switch. Though "modern" Firefox versions are now used by a majority of Firefox users, it looks like a hard core of "old" users is going to stick around. Over the next few months, we can expect Firefox 3.5 to decline more heavily, as Mozilla intends to push out a patch that will upgrade users to the newest 3.6 version.</p>
<div style="width: 640px;" class="news-item-figure CenteredImage"><div class="news-item-figure-image" style=""><img src="http://static.arstechnica.com/browsers-june-2011/chrome-transition.png" /></div><div class="news-item-figure-caption"><div class="news-item-figure-caption-byline"><a href="http://netmarketshare.com/">Net Applications</a></div></div></div>
<p>Chrome as ever shows rapid migration between versions. Over the course of June, the browser's stable version went from 11 to 12, and the rapid cutover we've grown to expect occurred. However, that transition isn't complete. 1.39 percent of users are on Chrome 10 or older, and it looks like Google's generally seamless automatic upgrades aren't touching these users. The source of these users isn't clear, though there a few plausible explanations. Obviously, some individuals and corporate users may simply have opted to disable the updates. Automatic updating is the default, but it can be turned off. Though this gives these users and enterprises greater control over the browser version they're using, this comes at some risk; Google doesn't have security updates for old versions of Chrome, so these people are using browsers with known exploitable flaws.</p>
<p>Chrome's automatic updating is also dependent on a system service. Though the browser can be installed by non-administrators, installation of the service requires administrator privileges. Unlike Firefox, which checks for and performs updates within the browser itself, Chrome depends on its service to do this task. If the service doesn't exist, updates don't happen.</p>
<p>That's probably not enough to account for every legacy Chrome user, however. To do that, we probably have to look towards the East Asian market. A long-standing feature of various markets in the region, most notably China and South Korea, is the entrenchment of Internet Explorer, variously attributed to legal mandates (especially in South Korea, where until last year a specific ActiveX control was required for online banking) and widespread software piracy making users reluctant to use Windows Update (even though Internet Explorer upgrades are available to pirated copies of the operating system).</p>
<p>To support this market, a range of browsers based on Internet Explorer's rendering engine, but with substantially greater features, sprung up. The <a href="http://data.cnzz.com/main.php?s=brow">most popular</a> of these are <a href="http://se.360.cn/">360 Secure Browser</a> with about 19 percent share of the Chinese market, and <a href="http://ie.sogou.com/">Sogou high speed browser</a>, with a little under 6 percent. Though these browsers originally just used the Trident engine that powers Internet Explorer, recent versions extend this by also embedding Chrome. In so doing, they give their users a choice between a relatively modern Chrome browser engine, and the older Internet Explorer engine needed for compatibility. Conceptually, this is very similar to software like <a href="http://code.google.com/chrome/chromeframe/">Chrome Frame</a>, that allows Internet Explorer users to use Chrome for some browser tabs.</p>
<div style="width: 640px;" class="news-item-figure CenteredImage"><div class="news-item-figure-image" style=""><a href="http://static.arstechnica.com/browsers-june-2011/sogou-ie.png"><img src="http://static.arstechnica.com/browsers-june-2011/thumb-sogou-ie.png" /></a></div><div class="news-item-figure-caption"><div class="news-item-figure-caption-text">Sogou browser running as Internet Explorer</div><div class="news-item-figure-caption-byline">Thanks to Ars reader WJ</div></div></div>
<p>These dual-engine browsers tend to modify Chrome in several ways, one of which is that they exclude Google's automatic update service. They also tend to embed stale versions of Chrome; the current Sogou uses Chrome 6. The result is that users of these browsers, who may well prefer using Chrome for day-to-day browsing, will be stuck with obsolete versions of the browser. And because of the way they're using Chrome, they're out of reach of Google's update system.</p>
<div style="width: 640px;" class="news-item-figure CenteredImage"><div class="news-item-figure-image" style=""><a href="http://static.arstechnica.com/browsers-june-2011/sogou-chrome.png"><img src="http://static.arstechnica.com/browsers-june-2011/thumb-sogou-chrome.png" /></a></div><div class="news-item-figure-caption"><div class="news-item-figure-caption-text">Sogou browser using its embedded Chrome</div><div class="news-item-figure-caption-byline">Thanks to Ars reader WJ</div></div></div>
<p>The net result of these various usage scenarios is that Chrome's non-upgrading userbase is likely to grow ever larger, with ten percent of Chrome users, and climbing, sticking with versions of the browser that are no longer supported.</p>
<div style="width: 640px;" class="news-item-figure CenteredImage"><div class="news-item-figure-image" style=""><img src="http://static.arstechnica.com/browsers-june-2011/ars-browser-share.png" /></div><div class="news-item-figure-caption"><div class="news-item-figure-caption-byline">Ars Technica</div></div></div>
<p>Ars' audience continues to show marked differences from the Internet's norms. Firefox, Safari, Internet Explorer, and Opera all saw drops, of 0.94, 0.37, 0.04, and 0.10 points respectively; Chrome saw gains of 0.88 points, with the remainder of the difference picked up by "other."</p>
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<p>June brought the first result of Mozilla's new Rapid Release strategy for Firefox. Firefox 4, just three months old, was superceded by the all-new but not-too-different <a href="http://arstechnica.com/open-source/news/2011/06/firefox-5-released-arrives-only-three-months-after-firefox-4.ars">Firefox 5</a>. Firefox's market growth was all but ended by the release of Chrome, and Mozilla is hoping that by adopting a similar release schedule to Google, it will be able to reignite the growth of its user base.</p>
<p>Internet Explorer is down 0.59 points at 53.68 percent. Firefox is essentially unchanged, down 0.04 points to 21.67 percent. Chrome is up 0.59 points to 13.11 percent. Safari is also up, gaining 0.2 points to reach 7.48 percent. Opera dropped 0.3 points to 1.73 percent.</p>
<div class="news-item-figure CenteredImage"><div class="news-item-figure-image"><img src="http://static.arstechnica.com/browsers-june-2011/global-browser-share.png"/></div></div>
<p>The trends established over the last few months are continuing: Firefox is treading water, while Internet Explorer is losing users, which seem to be being picked up by Chrome. In the past two months, Opera has dropped 0.41 points&#8212;that's a loss representing 20% of its market share. Our own Ryan Paul <a href="http://arstechnica.com/software/reviews/2011/06/hands-on-opera-1150s-new-featherweight-interface-packs-a-punch.ars">liked Opera 11.50</a>, which was released just a couple of days ago, so perhaps this will help turn around a perilous slide.</p>
<p>Looking at individual versions, Internet Explorer 6, 7, and 8 are all down, by 0.18, 0.46, and 1.21 points respectively. Internet Explorer 9 made strong gains, of 1.44 points, but not enough to undo the losses. Internet Explorer 9's gains seem to be occurring at the expense of older versions&#8212;Internet Explorer 8 on Windows 7, versions 7 and 8 on Windows Vista&#8212;rather than making converts of the other browsers.</p>
<div class="news-item-figure CenteredImage"><div class="news-item-figure-image"><img src="http://static.arstechnica.com/browsers-june-2011/internet-explorer-transition.png"/></div></div>
<p>Internet Explorer 9 is of course at something of a disadvantage, as it won't run on Windows XP. While we <a href="http://arstechnica.com/microsoft/news/2010/04/why-microsoft-did-the-right-thing-in-ditching-xp-for-ie9.ars">agree with the decision to cut Windows XP off</a>, one consequence is that not a single Internet Explorer 6 user can upgrade to Internet Explorer 9. Nor can anyone using Internet Explorer 7 or 8 on Windows XP. If the focus is narrowed from all users to just those using Windows 7, the Internet Explorer 9 situation looks a little more promising. Though Internet Explorer 8, which ships with Windows 7, commands the highest market share, at 38.47 percent of Windows 7 users, Internet Explorer 9 takes second place, at 15.61 percent&#8212;putting it ahead of Firefox 4 and Chrome 12, at 13.74 and 11.60 percent, respectively.</p>
<p>Internet Explorer 9 seems, therefore, to be performing well among users of Microsoft's latest and greatest operating system; it's just that only 27 percent of the global audience is running that platform. Windows XP still commands a slim majority, with a global share of 51 percent. As Windows XP declines and Windows 7 grows, we can expect to see Internet Explorer 9 lifted by this transition.</p>
<div class="news-item-figure CenteredImage"><div class="news-item-figure-image"><img src="http://static.arstechnica.com/browsers-june-2011/firefox-transition.png"/></div></div>
<p>Firefox versions 3.5 and 3.6 both saw drops last month, by 2.06 and 0.28 points, respectively, and versions 4 and 5 rose by 0.38 and 2.05 points, respectively. This suggests that the transition from "old" Firefox (3.x) to "modern" Firefox (4 and 5) is slowing down; in May, the 3.x versions dropped by an aggregate of more than 4.5 points, with the then-current Firefox 4 picking up all of those users. This month, only around half as many users made the switch. Though "modern" Firefox versions are now used by a majority of Firefox users, it looks like a hard core of "old" users is going to stick around. Over the next few months, we can expect Firefox 3.5 to decline more heavily, as Mozilla intends to push out a patch that will upgrade users to the newest 3.6 version.</p>
<div class="news-item-figure CenteredImage"><div class="news-item-figure-image"><img src="http://static.arstechnica.com/browsers-june-2011/chrome-transition.png"/></div></div>
<p>Chrome as ever shows rapid migration between versions. Over the course of June, the browser's stable version went from 11 to 12, and the rapid cutover we've grown to expect occurred. However, that transition isn't complete. 1.39 percent of users are on Chrome 10 or older, and it looks like Google's generally seamless automatic upgrades aren't touching these users. The source of these users isn't clear, though there a few plausible explanations. Obviously, some individuals and corporate users may simply have opted to disable the updates. Automatic updating is the default, but it can be turned off. Though this gives these users and enterprises greater control over the browser version they're using, this comes at some risk; Google doesn't have security updates for old versions of Chrome, so these people are using browsers with known exploitable flaws.</p>
<p>Chrome's automatic updating is also dependent on a system service. Though the browser can be installed by non-administrators, installation of the service requires administrator privileges. Unlike Firefox, which checks for and performs updates within the browser itself, Chrome depends on its service to do this task. If the service doesn't exist, updates don't happen.</p>
<p>That's probably not enough to account for every legacy Chrome user, however. To do that, we probably have to look towards the East Asian market. A long-standing feature of various markets in the region, most notably China and South Korea, is the entrenchment of Internet Explorer, variously attributed to legal mandates (especially in South Korea, where until last year a specific ActiveX control was required for online banking) and widespread software piracy making users reluctant to use Windows Update (even though Internet Explorer upgrades are available to pirated copies of the operating system).</p>
<p>To support this market, a range of browsers based on Internet Explorer's rendering engine, but with substantially greater features, sprung up. The <a href="http://data.cnzz.com/main.php?s=brow">most popular</a> of these are <a href="http://se.360.cn/">360 Secure Browser</a> with about 19 percent share of the Chinese market, and <a href="http://ie.sogou.com/">Sogou high speed browser</a>, with a little under 6 percent. Though these browsers originally just used the Trident engine that powers Internet Explorer, recent versions extend this by also embedding Chrome. In so doing, they give their users a choice between a relatively modern Chrome browser engine, and the older Internet Explorer engine needed for compatibility. Conceptually, this is very similar to software like <a href="http://code.google.com/chrome/chromeframe/">Chrome Frame</a>, that allows Internet Explorer users to use Chrome for some browser tabs.</p>
<div class="news-item-figure CenteredImage"><div class="news-item-figure-image"><a href="http://static.arstechnica.com/browsers-june-2011/sogou-ie.png"><img src="http://static.arstechnica.com/browsers-june-2011/thumb-sogou-ie.png"/></a></div><div class="news-item-figure-caption"><p class="news-item-figure-caption-text">Sogou browser running as Internet Explorer</p><p class="news-item-figure-caption-byline">Thanks to Ars reader WJ</p></div></div>
<p>These dual-engine browsers tend to modify Chrome in several ways, one of which is that they exclude Google's automatic update service. They also tend to embed stale versions of Chrome; the current Sogou uses Chrome 6. The result is that users of these browsers, who may well prefer using Chrome for day-to-day browsing, will be stuck with obsolete versions of the browser. And because of the way they're using Chrome, they're out of reach of Google's update system.</p>
<div class="news-item-figure CenteredImage"><div class="news-item-figure-image"><a href="http://static.arstechnica.com/browsers-june-2011/sogou-chrome.png"><img src="http://static.arstechnica.com/browsers-june-2011/thumb-sogou-chrome.png"/></a></div><div class="news-item-figure-caption"><p class="news-item-figure-caption-text">Sogou browser using its embedded Chrome</p><p class="news-item-figure-caption-byline">Thanks to Ars reader WJ</p></div></div>
<p>The net result of these various usage scenarios is that Chrome's non-upgrading userbase is likely to grow ever larger, with ten percent of Chrome users, and climbing, sticking with versions of the browser that are no longer supported.</p>
<div class="news-item-figure CenteredImage"><div class="news-item-figure-image"><img src="http://static.arstechnica.com/browsers-june-2011/ars-browser-share.png"/></div></div>
<p>Ars' audience continues to show marked differences from the Internet's norms. Firefox, Safari, Internet Explorer, and Opera all saw drops, of 0.94, 0.37, 0.04, and 0.10 points respectively; Chrome saw gains of 0.88 points, with the remainder of the difference picked up by "other."</p>
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<h1>A Simple Multi-Page Article For Testing : Page 3</h1>
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<h1>A Simple Multi-Page Article For Testing</h1>
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<div id="article"><div class="comment-content" id="comment-content-4e141229cadcbbb33f050000">
<p class="comment-text">
Yep, you gotta love that almost 90% market share failure. Like I said before, if that's failure than sign me up for some of that. I'm pretty sure the good people over at Apple, Google, etc. would like to be signed up for some of that failure too.<br/><br/>
For the, "If this, if that, (insert scenario)" people, enjoy your new OS and whatever other new software you may choose to use. However, don't be surprised when those metro ui interface imitations start to land on those products too. Did you really think that static grid-icons on a screen was going to last forever? I think 20+ years is enough, it's time for new innovation in design and don't be surprised when the copycats jump on board. That's the way the industry works. One group comes up with a new design or concept and the others tend to follow suit and you don't have to be a market leader to get that following. Just ask the Opera/Chrome developers. That's just one of many, many examples that could be pointed out. The metro ui is a very suitable design for the touch screen world that we're migrating to. Sure, there will be changes and enhancements as time goes on and everyone will put their own spin on it, but I'd get used to similar offerings from MSFT's competitors if I were you.<br/><br/>
Also, for those who like to comment, but seem to have little info about what's expected in things like Windows 8, let me fill you in a bit. The info. out right now is that Windows 8 will let you choose to use the new ui or to use the more, "Windows past" icon ui. I think anyone with some modicum of common sense can see how that would be a wise move from MSFT. For instance: The metro ui may not appeal to the corporate world as much as the consumer world. Plus, it give long-time Window's users the option to stick with what they know, but still gain the newest features and security measures that new OS's tend to bring. So, if your going to use another product, but all means, have fun with it, but don't try to justify it to yourself with reasons that are unlikely to exist. Just say you want to move on and anyone else can respect that, but when you seem to have little knowledge of what your options will be, it just makes you look like the typical sheep some people can be.<br/><br/>
Personally, I love the new direction MSFT is going in and for the first time in years, they seem to be thinking more and more consumer friendly. That's not an easy task for a company who has to appeal to business the way MSFT does and I commend the effort. Believe me, or don't, but Apple, Google and any other group would suffer the same balancing act if they dominated the corporate world the way Microsoft does. Corporate and consumers are very different beasts and it's not always easy to appeal to both, yet Microsoft has kept a large following in both sectors and anyone who doesn't see the skill it takes to do that, has a lot to learn my friends. </p>
</div>
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test_description: businessinsider article
notes: missed the article completely; got a long comment instead
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test_description: cnet article
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test_description: deadspin article
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<div id="article"><div class="mod-article-title">
<div class="datehead"><span class="page-actions">
<p id="fb-root"/><p class="date"><span>Updated: </span>July 12, 2011, 4:52 PM ET</p>
</span></div>
<p class="headline">
</p><h1 class="h2">Roger Clemens' defense sets strategy</h1>
</div>
<div><p>
WASHINGTON -- <a href="http://espn.go.com/mlb/player/_/id/1427/roger-clemens">Roger Clemens</a>' attorney revealed Tuesday that the ex-baseball star plans to begin his defense against charges of lying to Congress by questioning if the lawmakers' investigation into whether he used performance-enhancing drugs was proper.</p><p>Clemens attorney Michael Attanasio said in court that the hearing the House Oversight and Government Reform Committee held in February 2008 had nothing to do with Congress' responsibility for legislation. He said the hearing was only concerned with airing a "credibility contest" between Clemens and his longtime trainer, Brian McNamee, who said he injected the pitcher with steroids and human growth hormone.</p><p/><div class="mod-container mod-inline content-box mod-podcast floatright mod-no-header-footer">
<div class="mod-content"><h4>Mike and Mike in the Morning</h4><p class="podcast-player"/>
<p>ESPN legal analyst Roger Cossack explains what is going on with the Roger Clemens trial.</p>
<p class="footer clear"><a href="http://espn.go.com/espnradio/podcast/"> More Podcasts &#187;</a></p></div></div>
<p>Clemens denied those allegations and has been charged with perjury, false statements and obstruction of Congress. The obstruction count charges Clemens with making 15 false or misleading statements to the committee, including his repeated denials he didn't take performance-enhancing drugs during his 24-season career and even whether he attended a 1998 pool party at then-<a href="http://espn.go.com/mlb/team/_/name/tor/toronto-blue-jays">Toronto Blue Jays</a> teammate Jose Canseco's home in Miami.</p><p>McNamee says he saw Clemens and admitted steroids user Canseco talking at the party with another man and that after they returned to Canada, Clemens asked McNamee to inject him with steroids for the first time. </p><p>
Clemens and Canseco say Clemens was never at the party but was golfing at the time. Attanasio said that dispute suggests how improper the whole inquiry was and that jurors should be able to determine whether a "he said, he said debate" between Clemens and McNamee was a legitimate congressional concern.</p><p>"We're going to have a mini-trial on whether Roger Clemens went swimming," Attanasio said. "We're going to have a trial in U.S. District Court, Congress is going to have a hearing on these things? That's our point."</p><p>Assistant U.S. attorney Daniel Butler responded that the committee has responsibility for oversight that is broad and goes beyond legislation. He said steroids in baseball is a drug matter and pointed out that a 2005 hearing into the issue led to legislation to regulate steroids and triggered Major League Baseball to commission a report by former Sen. George Mitchell into the extent of the problem in the league.</p><p/><div class="mod-container mod-no-footer mod-inline content-box floatright mod-no-header-footer">
<div class="mod-content"><h4>Follow the trial</h4>
<img class="io-img" src="http://a.espncdn.com/photo/2010/0116/quinn_tj_m.jpg" border="0"/><p>ESPN's T.J. Quinn will provide live coverage from the courtroom during the Clemens trial. Follow along with our up-to-the-minute <a href="http://twitter.com/#!/TJQuinnESPN" target="_blank"><b>Twitter coverage</b></a>.<br/>
&#8226;&#160; <b><a href="http://espn.go.com/photo/preview/!pdfs/espn_voir_dire_questions.pdf">Voir dire questions</a></b>
</p></div>
</div><p>The Mitchell report was released in December 2007 and named Clemens and 85 other current and former ballplayers as using drugs. Clemens denied the allegations and Butler pointed out that leaders of the House committee said they needed to investigate Clemens' denials to determine what weight to give the Mitchell report and its recommendations.</p><p>Attanasio argued that if the committee's purpose was to come full circle on the Mitchell report, it had done so with a January 2008 hearing featuring testimony by Mitchell, baseball commissioner Bud Selig and former players union director Donald Fehr.</p><p>"That ship had left. That work was done. And now it becomes a question between Mr. Clemens and Mr. McNamee," Attanasio said.</p><p>But U.S. District Judge Reggie Walton said if "one of the icons of baseball" was taking exception to the Mitchell report, "it seems to me that Congress has the authority to hold hearings to determine which view is correct."</p><p>Attanasio said the issue will be addressed in testimony from the first two witnesses prosecutors plan to call after opening arguments Wednesday morning. He said the first will be retired House Parliamentarian Charles Johnson, followed by Phil Barnett, who was chief counsel for the committee at the time it investigated Clemens.</p><p>The dispute over the committee's proper role came as Walton considered what preliminary instructions to give the jury, which was seated Tuesday afternoon after 3&#189; days of screening potential members.</p><p>The jury of 10 women and two men includes a woman whose cousin, former outfielder Al Bumbry, was a coach for the <a href="http://espn.go.com/mlb/team/_/name/bos/boston-red-sox">Boston Red Sox</a> when Clemens played for the team. Another woman on the jury said she believes <a href="http://espn.go.com/nfl/team/_/name/phi/philadelphia-eagles">Philadelphia Eagles</a> quarterback <a href="http://sports.espn.go.com/nfl/players/profile?playerId=2549">Michael Vick</a> was "done wrong" in his criminal conviction in connection with dogfighting.</p><p>Four other people were seated as alternate jurors in case any of the 12 can't serve.</p><p>Prosecutors and Clemens' defense team removed 20 people from the pool of 36 jurors, offering no public explanation for their decisions.</p><p>Clemens' attorney pressed potential jurors not to hold it against Clemens if he chooses not to testify, his strongest hint yet that the ex-pitcher might not take the stand.</p><p>Walton also said he was upset to read a New York Daily News item that members of Clemens' family have been criticizing McNamee and other government witnesses on Twitter and elsewhere online. The judge has a gag order on parties involved in the case, but he said he doesn't have any authority over anyone who isn't before him and hopes that those that are were not involved. </p><p>Clemens' attorney Rusty Hardin said he would look into it but that it's been "extremely difficult" for Clemens' family to see harsh criticisms of the baseball star online and in the media and not be able to respond.</p><p><i>Information from The Associated Press was used in this report.</i>
</p>
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test_description: nytimes article
url: http://thecaucus.blogs.nytimes.com/2011/07/12/mcconnell-proposal-gives-obama-power-to-increase-debt-limit/?hp

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<h6 class="dateline">Published: July 6, 2011 </h6>
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<p><font size="-1">(Page 2 of 5)</font><p><p><p>
Which might make Gilligan TV&rsquo;s first true red-state auteur. His characters lead middle-American lives in a middle-American place, and they are beset with middle-American problems. They speak like middle Americans too, and they inhabit a realm of moral ambiguities that&rsquo;s overseen by a man with both a wicked sense of humor and a highly refined sense of right and wrong. </p>
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<p>
&ldquo;If there&rsquo;s a larger lesson to &lsquo;Breaking Bad,&rsquo; it&rsquo;s that actions have consequences,&rdquo; Gilligan said during lunch one day in his trailer. &ldquo;If religion is a reaction of man, and nothing more, it seems to me that it represents a human desire for wrongdoers to be punished. I hate the idea of Idi Amin living in Saudi Arabia for the last 25 years of his life. That galls me to no end.&rdquo; </p><p>
He paused for a moment and speared a few tater tots in a white plastic-foam tray perched on his lap. </p><p>
&ldquo;I feel some sort of need for biblical atonement, or justice, or something,&rdquo; he said between chews. &ldquo;I like to believe there is some comeuppance, that karma kicks in at some point, even if it takes years or decades to happen,&rdquo; he went on. &ldquo;My girlfriend says this great thing that&rsquo;s become my philosophy as well. &lsquo;I want to believe there&rsquo;s a heaven. But I can&rsquo;t not believe there&rsquo;s a hell.&rsquo; &rdquo; </p><p>
&lsquo;Breaking Bad&rdquo; was born out of a conversation in 2004 between Gilligan and a friend named Thomas Schnauz, who is now a writer on the show. Schnauz had just read a story about a man cooking meth in an apartment complex, which had sickened kids in apartments above. Saddam Hussein&rsquo;s putative mobile chemical-weapons labs came up in the conversation, too. </p><p>
&ldquo;Neither of us were working,&rdquo; Schnauz says, &ldquo;and we were like two 70-year-old men who like to complain about the world. And somehow we spun off into the idea of driving around in a mobile lab, cooking meth. It was a joke and not something I would have ever thought about again. But a couple days later Vince called back and said: &lsquo;Remember we were talking about that mobile lab and meth? Do you mind if I run with that?&rsquo; &rdquo; </p><p>
A show about a very smart middle-aged guy who hadn&rsquo;t quite achieved his dreams had a faintly autobiographical whiff for Gilligan at the time. He grew up in Farmville, Va., a town of roughly 6,000 people, not far from Appomattox, the site of the South&rsquo;s surrender in the Civil War. His father was an insurance claims adjuster, and his mother was a grade-school teacher who had a brief career as a wing walker. &ldquo;Vince was an acolyte in the Catholic Church,&rdquo; Gail Gilligan says, though she notes that he also played Dungeons and Dragons. &ldquo;There was certainly a lot of evil in that game, but it never seemed to affect him adversely.&rdquo; </p><p>
Gilligan earned a partial scholarship to attend New York University&rsquo;s film program, where his instructors included Jesse Kornbluth, who remembers a polite kid who was so good at drawing bent, violent characters that Kornbluth initially pegged him as the &ldquo;go postal&rdquo; type. &ldquo;In the end, he turned us all into his audience,&rdquo; Kornbluth said to me. &ldquo;We were all just mesmerized. Attendance was unnaturally high on days when he was reading his scenes.&rdquo; </p><p>
After graduating, Gilligan won a screenplay contest in 1989, and one of the judges, a producer named Mark Johnson (now an executive producer on &ldquo;Breaking Bad&rdquo;), helped him find an agent and sell scripts to Hollywood. Two of them, &ldquo;Home Fries,&rdquo; starring Drew Barrymore, and &ldquo;Wilder Napalm,&rdquo; starring Debra Winger and Dennis Quaid, were turned into films. It was a promising start. Gilligan bought a house outside Richmond, assuming that he would keep lobbing movie scripts to Los Angeles, which would keep lobbing money back. That did not happen. By 1994, the money dried up and he lost his writer&rsquo;s guild health insurance. That year, his agent got Gilligan a meeting with Chris Carter, the creator of &ldquo;The X-Files.&rdquo; </p><div id="pageLinks"><a class="previous" onClick="s_code_linktrack('Article-MultiPage-Previous');"
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<p>David Segal is a reporter for the Business section of The New York Times. His most recent article in the magazine was about the New York Cosmos. Editor: Adam Sternbergh (a.sternbergh-MagGroup@nytimes.com)</p> </div>
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<h6 class="metaFootnote">A version of this article appeared in print on July 10, 2011, on page MM18 of the Sunday Magazine with the headline: Art Of Darkness.</h6>
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<h6 class="dateline">Published: July 6, 2011 </h6>
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<p><font size="-1">(Page 3 of 5)</font><p><p><p>
&ldquo;I pitched them an idea about a guy whose shadow comes to life and sucks people in like a black hole and kills them,&rdquo; he recalls. &ldquo;They bought that as a freelance episode, and then I moved to California.&rdquo; He spent seven years as a writer and producer on &ldquo;The X-Files,&rdquo; his first full-time TV job. The gig died with the show in 2002, and what followed was another succession of false starts and disappointments. There was &ldquo;Lone Gunman,&rdquo; a show for Fox, which expired after one year, and one for CBS called &ldquo;Battle Creek,&rdquo; which failed to ignite. </p>
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<p>
&ldquo;I&rsquo;ve had two fallow periods in my life,&rdquo; Gilligan said. The first one was after his two movies were made. &ldquo;The second was the five years after &lsquo;X-Files.&rsquo; Money wasn&rsquo;t as big an issue as it was the first time, but as a writer you always want to be working on something that has a hope in hell of being made.&rdquo; </p><p>
In its basic outline, &ldquo;Breaking Bad&rdquo; &mdash; the title is a Southern phrase for going wild &mdash; also seemed destined for rejection. Its concept sounded a lot like that of &ldquo;Weeds,&rdquo; Showtime&rsquo;s suburban pot-dealer series. Plus, its lead character is given a diagnosis of cancer within the first 20 minutes, and the action centers on one of the most destructive (and unglamorous) drugs known to man. Not to mention that the show ditches Rule No. 1 of series TV: the personality of the main character must stay the same. </p><p>
&ldquo;Television is really good at protecting the franchise,&rdquo; Gilligan said. &ldquo;It&rsquo;s good at keeping the Korean War going for 11 seasons, like &lsquo;M*A*S*H.&rsquo; It&rsquo;s good at keeping Marshal Dillon policing his little town for 20 years. By their very nature TV shows are open-ended. So I thought, Wouldn&rsquo;t it be interesting to have a show that takes the protagonist and transforms him into the antagonist?&rdquo; </p><p>
That was the pitch to AMC executives in 2007. The network was searching for a second original series, to go along with &ldquo;Mad Men,&rdquo; which made its debut that year. The goal was to find something set in the present, so that AMC wasn&rsquo;t pigeonholed as the home of period television. And management wanted a conceit that would skew male and complement the network&rsquo;s library of antihero action movies, the kind that star Clint Eastwood and Charles Bronson. Sitting in his Manhattan office, Charlie Collier, the president of AMC, recalls his introduction to Gilligan&rsquo;s work: &ldquo;Our development team put the pilot script on my desk and said, &lsquo;Just read this.&rsquo; &rdquo; </p><p>
At the time that Gilligan conceived &ldquo;Breaking Bad,&rdquo; his past success, plus all the hackwork offers that could have kept him busy for years, fortified his sense that only a show built to his iconoclastic sensibility was worth doing. He wanted a show devoid of snappy banter (of the kind that Aaron Sorkin writes), and one that doesn&rsquo;t flatter you for getting its winking references (as Matthew Weiner does in &ldquo;Mad Men,&rdquo; with his chain-smoking doctors and kids playing with dry-cleaning bags). And he wanted a leading man who would not only change over the course of the series but also suffer crushing reversals with lasting impact. </p><p>
That is something new. The depravities of leading men in TV dramas traditionally don&rsquo;t leave permanent scars. Don Draper of &ldquo;Mad Men&rdquo; is still pretty much the tippling rake he has been from the start, despite a flirtation or two with confession and reform. Tony Soprano tried, through therapy, to improve as a human being, but he didn&rsquo;t get very far. Dr. House of &ldquo;House&rdquo; will always be a brilliant cuss. Walter White progresses from unassuming savant to opportunistic gangster &mdash; and as he does so, the show dares you to excuse him, or find a moral line that you deem a point of no return. </p><div id="pageLinks"><a class="previous" onClick="s_code_linktrack('Article-MultiPage-Previous');"
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<p>David Segal is a reporter for the Business section of The New York Times. His most recent article in the magazine was about the New York Cosmos. Editor: Adam Sternbergh (a.sternbergh-MagGroup@nytimes.com)</p> </div>
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<h6 class="headline"><a href="http://www.nytimes.com/2011/07/21/garden/playhouses-childs-play-grown-up-cash.html">Child&rsquo;s Play, Grown-Up Cash</a></h6>
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<p class="summary">Readers are invited to continue the conversation about the parliamentary inquiries into Rupert Murdoch&rsquo;s media empire.</p>
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<h6 class="dateline">Published: July 6, 2011 </h6>
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<p><font size="-1">(Page 4 of 5)</font><p><p><p>
In 2007, if you needed an actor to dramatize so profound a transformation, Bryan Cranston would have seemed an unlikely choice. Before &ldquo;Breaking Bad,&rdquo; he was known as the dad in &ldquo;Malcolm in the Middle,&rdquo; a broadly comic role. When Gilligan told AMC executives that he wanted Cranston to play Walter, they initially were baffled. Then Gilligan explained that years earlier, he cast Cranston in an episode of &ldquo;The X-Files.&rdquo; &ldquo;We had this villain, and we needed the audience to feel bad for him when he died,&rdquo; Gilligan said. &ldquo;Bryan alone was the only actor who could do that, who could pull off that trick. And it is a trick. I have no idea how he does it.&rdquo; </p>
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Meeting Bryan Cranston only deepens the mystery. He is Walter&rsquo;s opposite. The character is coiled and burdened, while Cranston in person is buoyant. Walter&rsquo;s default facial expression is a rictus of angst, while Cranston&rsquo;s is a mischievous smile. Cranston looks at least five years younger than the character, and his co-stars say, he often behaves like a 10-year-old. Aaron Paul described Cranston as &ldquo;a kid trapped in a man&rsquo;s body.&rdquo; Anna Gunn, who plays Skyler, Walter&rsquo;s wife, says that she has never seen an adult more amused by stuffing fruit down his pants. But Cranston&rsquo;s performance as Walter White has made history, winning three Emmys in a row for outstanding lead in a drama series, the first actor to do so since Bill Cosby in &ldquo;I Spy&rdquo; in the mid-&rsquo;60s. </p><p>
&ldquo;Physically, to create Walter White, I use my dad,&rdquo; he said one night over dinner. &ldquo;My dad is 87 years old. I&rsquo;m not going to dodder, but Walter is always a little hunched over, never erect. The message to the audience is that the weight of the world is on this man&rsquo;s shoulders.&rdquo; </p><p>
Cranston is from the total-commitment school of acting, and he once famously did a scene in &ldquo;Malcolm in the Middle&rdquo; while covered head to toe with bees. When Gilligan declined to fill in large holes in Walter&rsquo;s back story, Cranston sat down and wrote out one of his own. On a handful of occasions, he has flagged lines in the script that felt false to him. Cranston reads each episode about a week in advance so that these bumps can be smoothed over before it&rsquo;s time to start shooting. When he can&rsquo;t resolve the issue with the writer on the set that week, a call is placed to Gilligan, who is usually in the writer&rsquo;s room in Burbank. &ldquo;It&rsquo;s up to them, but I won&rsquo;t bend unless I&rsquo;m convinced it&rsquo;s the right thing to do,&rdquo; Cranston says. &ldquo;Convince me and I&rsquo;ll do it. I have a theory &mdash; our job isn&rsquo;t to lie to the audience, our job is to find the truth in the character. If we lie, we&rsquo;re giving the audience a little pinch of poison. They won&rsquo;t even know they ingested it. But if you lie again and again and again, all of a sudden, your audience is going, &lsquo;This isn&rsquo;t working for me.&rsquo; They just feel sick, and they turn you off.&rdquo; </p><p>
Cranston has found many nuanced ways to enact Walt&rsquo;s many miseries, the most wrenching of which was the loss of his wife&rsquo;s love. There is a long history in art of foisting suffering on characters who sin, but it seems to have fallen out of favor. As awful as Tony Soprano was, it&rsquo;s left purposefully unclear at the end of &ldquo;The Sopranos&rdquo; whether he paid the ultimate price. Or consider the &ldquo;simple chaos&rdquo; take on the universe as represented in movies by Woody Allen, a director whom Gilligan admires. &ldquo;And Woody Allen may be right,&rdquo; Gilligan says. &ldquo;I&rsquo;m pretty much agnostic at this point in my life. But I find <a href="http://topics.nytimes.com/top/reference/timestopics/subjects/a/atheism/index.html?inline=nyt-classifier" title="More articles about atheism." class="meta-classifier">atheism</a> just as hard to get my head around as I find fundamental Christianity. Because if there is no such thing as cosmic justice, what is the point of being good? That&rsquo;s the one thing that no one has ever explained to me. Why shouldn&rsquo;t I go rob a bank, especially if I&rsquo;m smart enough to get away with it? What&rsquo;s stopping me?&rdquo; </p><p>
On a cloudless day in May, five members of the cast and a scrum of crew members were shooting in what is referred to as &ldquo;the Schrader house,&rdquo; the home of Walter&rsquo;s in-laws, Hank and Marie Schrader. It&rsquo;s rented from a local couple and sits in the shadows of the type of steep, reddish mountains that Wile E. Coyote tumbled off chasing the Road Runner. Gilligan was the ringmaster of this circus, standing on the balcony and sipping a jumbo-size and constantly refilled McDonald&rsquo;s container of unsweetened iced tea, which he calls brain juice. He was wearing what turned out to be his first pair of designer jeans. They were acquired during a recent shopping spree urged upon him by his girlfriend of 20 years, Holly Rice. His go-to pants have been $12 Wal-Mart jeans, he said, which is what he wore the following day. </p><p>
He watched as a crew member put a series of sunglasses on the face of a 20ish Latino man with a nonspeaking background role. </p><p>
&ldquo;I like that one,&rdquo; he said when the first pair of dark wraparounds were put on the actor&rsquo;s face. </p><p>
On went the second. &ldquo;Not as good as the first,&rdquo; Gilligan said. </p><p>
Then the third. &ldquo;Not as good as the first,&rdquo; Gilligan repeated. </p><p>
A fourth. &ldquo;Let&rsquo;s go with the first.&rdquo; </p><p>
This, it turns out, is an abbreviated version of a process that Gilligan goes through with virtually every article of clothing, every choice of color, every prop and every extra who appears in &ldquo;Breaking Bad.&rdquo; &ldquo;You see this shirt?&rdquo; said Dean Norris, who plays Hank Schrader, as he sat on the veranda between takes. He spoke in a stage whisper, out of the side of his mouth, like an inmate describing a warden who has gone insane. &ldquo;Vince had to see five versions of it before he chose it. <em>Five different shades of a gray T-shirt.</em> That&rsquo;s unique,&rdquo; he said, heading into the house. &ldquo;That&rsquo;s beyond.&rdquo; </p><div id="pageLinks"><a class="previous" onClick="s_code_linktrack('Article-MultiPage-Previous');"
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href="/2011/07/10/magazine/the-dark-art-of-breaking-bad.html?pagewanted=3">&#x00ab; Previous Page</a><ul id="pageNumbers"><li> <a onClick="s_code_linktrack('Article-MultiPagePageNum1');" title="Page 1" href="/2011/07/10/magazine/the-dark-art-of-breaking-bad.html?pagewanted=1">1</a> </li><li> <a onClick="s_code_linktrack('Article-MultiPagePageNum2');" title="Page 2" href="/2011/07/10/magazine/the-dark-art-of-breaking-bad.html?pagewanted=2">2</a> </li><li> <a onClick="s_code_linktrack('Article-MultiPagePageNum3');" title="Page 3" href="/2011/07/10/magazine/the-dark-art-of-breaking-bad.html?pagewanted=3">3</a> </li><li> 4 </li><li> <a onClick="s_code_linktrack('Article-MultiPagePageNum5+');" title="Page 5" href="/2011/07/10/magazine/the-dark-art-of-breaking-bad.html?pagewanted=5">5</a> </li></ul><a class="next" onClick="s_code_linktrack('Article-MultiPage-Next');"
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<p>David Segal is a reporter for the Business section of The New York Times. His most recent article in the magazine was about the New York Cosmos. Editor: Adam Sternbergh (a.sternbergh-MagGroup@nytimes.com)</p> </div>
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<h6 class="dateline">Published: July 6, 2011 </h6>
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<p><font size="-1">(Page 5 of 5)</font><p><p><p>
Perfectionists often don&rsquo;t play well with others, but Gilligan seems eager to accommodate everyone with an idea. It&rsquo;s a running joke in the cast, the disconnect between Gilligan the person and Gilligan the writer. The former is sweet-tempered and polite; the latter strapped a character&rsquo;s severed head to a tortoise, which was then rigged with explosives and blown up as D.E.A. agents swarmed around it. </p>
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<p>
During a break in the shooting, I asked Gilligan if, now four seasons into his show, he could explain the gulf between his manners and his material. </p><p>
&ldquo;I&rsquo;m not the happiest person,&rdquo; he said. &ldquo;But I respect this crew and these actors. I try to be as cheerful as possible. I fake it pretty well.&rdquo; </p><p>
Well, a lot of people can fake cheerful. But how does such a benign-seeming person come up with such malign tales? Gilligan thought for a moment, then quoted Flaubert. &ldquo;I&rsquo;m not going to get this exactly right, but it&rsquo;s something like, &lsquo;You should be neat and orderly in your life so you can be violent and original in your work,&rsquo; and there&rsquo;s something to that,&rdquo; he said. &ldquo;It&rsquo;s fun to explore that darkness and that criminal behavior on the page, but I&rsquo;m too timid to do it in real life.&rdquo; </p><p>
The pilot of the show opened, memorably, with just such a burst of darkness and violence: Walt driving that R.V. through a desert in a crazed dash, wearing nothing but tighty-whitey briefs and a gas mask. Two male bodies roll in a soup of liquid, broken beakers and cash in the cabin. Cut to three weeks earlier. Walt is a regular schlub, in an unremarkable house, on his way to a mundane job. Gilligan slyly signals his overarching theme when Walter stands before his class and tells his students, &ldquo;Chemistry is . . . well, technically it&rsquo;s the study of matter, but I prefer to see it as the study of <em>change</em>.&rdquo; </p><p>
When you give your lead character a terminal illness, usher him into the underworld and embroil him in ever bolder and more ambitious criminal plans, you create a man who is rushing toward the ultimate change &mdash; from being alive to being dead. Walter White is surely the most doomed character on television, meaning that, just as &ldquo;Breaking Bad&rdquo; is finally winning acclaim, the end of the series is in sight. Which is just fine with Gilligan. He can imagine a fifth season of &ldquo;Breaking Bad,&rdquo; but that&rsquo;s it. </p><p>
Driving to the set after lunch one day, he told me that Walter White had started off as a person he could imagine chatting with over a beer. </p><p>
&ldquo;Now he&rsquo;s not quite at the point where I&rsquo;d cross the street if I saw him coming,&rdquo; he said, with a smile. &ldquo;But I wouldn&rsquo;t want to be stuck in an elevator with him too long.&rdquo; Plotting Walt&rsquo;s transgressions has proved wearying enough. &ldquo;It&rsquo;s hard to write a character that dark and morally ambiguous,&rdquo; he said. &ldquo;I&rsquo;m going to miss the show when it&rsquo;s over, but on some level, it&rsquo;ll be a relief to not have Walt in my head anymore.&rdquo; </p><div id="pageLinks"><a class="previous" onClick="s_code_linktrack('Article-MultiPage-Previous');"
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href="/2011/07/10/magazine/the-dark-art-of-breaking-bad.html?pagewanted=4">&#x00ab; Previous Page</a><ul id="pageNumbers"><li> <a onClick="s_code_linktrack('Article-MultiPagePageNum1');" title="Page 1" href="/2011/07/10/magazine/the-dark-art-of-breaking-bad.html?pagewanted=1">1</a> </li><li> <a onClick="s_code_linktrack('Article-MultiPagePageNum2');" title="Page 2" href="/2011/07/10/magazine/the-dark-art-of-breaking-bad.html?pagewanted=2">2</a> </li><li> <a onClick="s_code_linktrack('Article-MultiPagePageNum3');" title="Page 3" href="/2011/07/10/magazine/the-dark-art-of-breaking-bad.html?pagewanted=3">3</a> </li><li> <a onClick="s_code_linktrack('Article-MultiPagePageNum4');" title="Page 4" href="/2011/07/10/magazine/the-dark-art-of-breaking-bad.html?pagewanted=4">4</a> </li><li> 5 </li></ul></div><NYT_AUTHOR_ID> <div class="authorIdentification">
<p>David Segal is a reporter for the Business section of The New York Times. His most recent article in the magazine was about the New York Cosmos. Editor: Adam Sternbergh (a.sternbergh-MagGroup@nytimes.com)</p> </div>
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<h6 class="metaFootnote">A version of this article appeared in print on July 10, 2011, on page MM18 of the Sunday Magazine with the headline: Art Of Darkness.</h6>
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<h1 class="articleHeadline"><NYT_HEADLINE version="1.0" type=" ">The Dark Art of Breaking Bad</NYT_HEADLINE></h1>
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<p class="caption"><strong></strong>Gilligan on the set with the actors Bryan Cranston and Aaron Paul. </p>
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<h6 class="dateline">Published: July 6, 2011 </h6>
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In the first three seasons of the AMC series &ldquo;Breaking Bad,&rdquo; Aaron Paul &mdash; or rather, his meth-dealing character, Jesse Pinkman &mdash; has been slapped, mauled and beaten purple by, respectively, a hit man, a sociopath and a federal drug-enforcement agent. If he were a pi&ntilde;ata, the candy would have poured out of this guy long ago. And apparently there is little mercy for Paul in the new season on the way. For there Paul was, one day in late May, standing on Tijeras Avenue in downtown Albuquerque, being tasered by a brawny man in sunglasses. </p>
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<p class="caption">The goal, Gilligan says, was to turn "Mr. Chips into Scarface." </p>
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<p>
The street had been blocked off, and a crew of dozens waited as the actors rehearsed the assault with Vince Gilligan, the creator, head writer and show runner, who was also directing the episode. </p><p>
&ldquo;Maybe we play this moment just a little longer, so we know for sure he got zapped,&rdquo; Gilligan said. &ldquo;Otherwise, Jesse would fight back more.&rdquo; </p><p>
&ldquo;Yeah, I like that,&rdquo; Paul said. </p><p>
&ldquo;And let&rsquo;s go back to the brass-knuckle-looking taser,&rdquo; Gilligan said. </p><p>
&ldquo;Fly in the brass-knuckle taser!&rdquo; a nearby crew member shouted into a walkie-talkie. </p><p>
As the cameras were moved into place, Gilligan, who is 44 and speaks in a lyrical Southern drawl, reminisced fondly about some of the torments he has inflicted on Jesse Pinkman. One of the most gruesome was a plunge through the roof of a Port-a-Potty in a junkyard in Season 2. </p><p>
&ldquo;The original version was that he was going to get bit by a guard dog,&rdquo; Gilligan said, leaning up against a rail and squinting against the New Mexico sun. &ldquo;But the guard dog would have cost us $25,000, and we didn&rsquo;t have the money. So we came up with the $5,000 outhouse gag. Which is quite a bit more memorable.&rdquo; </p><p>
Mordantly amusing ordeals are a specialty on &ldquo;Breaking Bad,&rdquo; which begins its fourth season on July 17. Credit the show&rsquo;s forbiddingly grim premise: A 50-year-old high-school chemistry teacher named Walter White (played by Bryan Cranston) finds out he has terminal lung cancer and starts making crystal meth, hoping to leave behind a nest egg for his son and pregnant wife. Walter, it emerges, is a chemistry wizard, and after teaming up with Pinkman, a burnout student he once flunked, the pair drive a ramshackle R.V. into the desert and confect the purest, most coveted meth that local dealers have ever known. With the death penalty of his diagnosis looming, Walt wakes from the slumber of an unfulfilling life, evolving from feckless drudge to reluctant part-time criminal, then gradually to something worse. </p><p>
In its first season, &ldquo;Breaking Bad&rdquo; seemed like the story of the nuttiest midlife crisis ever, told with elements that felt vaguely familiar. The structure &mdash; felonious dad copes with stress of work and family; complications ensue &mdash; owed an obvious debt to &ldquo;The Sopranos,&rdquo; and the collision of regular people and colorfully violent thugs nodded to Tarantino. The story and setting were an update of the spaghetti Western, minus the cowboys and set in the present. </p><p>
But it was soon clear that &ldquo;Breaking Bad&rdquo; was something much more satisfying and complex: a revolutionary take on the serial drama. What sets the show apart from its small-screen peers is a subtle metaphysical layer all its own. As Walter inches toward damnation, Gilligan and his writers have posed some large questions about good and evil, questions with implications for every kind of malefactor you can imagine, from Ponzi schemers to terrorists. Questions like: Do we live in a world where terrible people go unpunished for their misdeeds? Or do the wicked ultimately suffer for their sins? </p><p>
Gilligan has the nerve to provide his own hopeful answer. &ldquo;Breaking Bad&rdquo; takes place in a universe where nobody gets away with anything and karma is the great uncredited player in the cast. This moral dimension might explain why &ldquo;Breaking Bad&rdquo; has yet to achieve pop cultural breakthrough status, at least on the scale of other cable hits set in decidedly amoral universes, like &ldquo;True Blood&rdquo; or &ldquo;Mad Men,&rdquo; AMC&rsquo;s far-more-buzzed-about series that takes place in an ad agency in the &rsquo;60s. The total audience for &ldquo;Breaking Bad&rdquo; is only slightly smaller than that of &ldquo;Mad Men&rdquo; &mdash; 19.5 million versus 22.4 million cumulative viewers in their respective third seasons &mdash; but the top three markets for &ldquo;Breaking Bad&rdquo; are Albuquerque/Santa Fe, Kansas City and Memphis; neither New York nor Los Angeles are in its top 10. The show, in other words, doesn&rsquo;t play on the coasts. It gets chatter, just not among what has long been considered the chattering class. </p><div id="pageLinks"><ul id="pageNumbers"><li> 1 </li><li> <a onClick="s_code_linktrack('Article-MultiPagePageNum2');" title="Page 2" href="/2011/07/10/magazine/the-dark-art-of-breaking-bad.html?pagewanted=2&_r=1">2</a> </li><li> <a onClick="s_code_linktrack('Article-MultiPagePageNum3');" title="Page 3" href="/2011/07/10/magazine/the-dark-art-of-breaking-bad.html?pagewanted=3&_r=1">3</a> </li><li> <a onClick="s_code_linktrack('Article-MultiPagePageNum4');" title="Page 4" href="/2011/07/10/magazine/the-dark-art-of-breaking-bad.html?pagewanted=4&_r=1">4</a> </li><li> <a onClick="s_code_linktrack('Article-MultiPagePageNum5+');" title="Page 5" href="/2011/07/10/magazine/the-dark-art-of-breaking-bad.html?pagewanted=5&_r=1">5</a> </li></ul><a class="next" onClick="s_code_linktrack('Article-MultiPage-Next');"
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<p>David Segal is a reporter for the Business section of The New York Times. His most recent article in the magazine was about the New York Cosmos. Editor: Adam Sternbergh (a.sternbergh-MagGroup@nytimes.com)</p> </div>
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<h6 class="metaFootnote">A version of this article appeared in print on July 10, 2011, on page MM18 of the Sunday Magazine with the headline: Art Of Darkness.</h6>
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<p class="summary">A play-by-play of Bull Run, the first major battle of the Civil War, by Gary Gallagher.</p>
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<div id="article"><div id="page-1" class="article-page"><div class="articleSpanImage"><img src="http://graphics8.nytimes.com/images/2011/07/10/magazine/10bad_span/10bad_span-articleLarge.jpg" alt="" border="0"/><p class="credit">Robert Yager for The New York Times</p>
<p class="caption"><strong/>Gilligan on the set with the actors Bryan Cranston and Aaron Paul. </p>
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In the first three seasons of the AMC series &#8220;Breaking Bad,&#8221; Aaron Paul &#8212; or rather, his meth-dealing character, Jesse Pinkman &#8212; has been slapped, mauled and beaten purple by, respectively, a hit man, a sociopath and a federal drug-enforcement agent. If he were a pi&#241;ata, the candy would have poured out of this guy long ago. And apparently there is little mercy for Paul in the new season on the way. For there Paul was, one day in late May, standing on Tijeras Avenue in downtown Albuquerque, being tasered by a brawny man in sunglasses. </p>
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<h6 class="credit">Robert Yager for The New York Times</h6>
<p class="caption">The goal, Gilligan says, was to turn "Mr. Chips into Scarface." </p>
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The street had been blocked off, and a crew of dozens waited as the actors rehearsed the assault with Vince Gilligan, the creator, head writer and show runner, who was also directing the episode. </p><p>
&#8220;Maybe we play this moment just a little longer, so we know for sure he got zapped,&#8221; Gilligan said. &#8220;Otherwise, Jesse would fight back more.&#8221; </p><p>
&#8220;Yeah, I like that,&#8221; Paul said. </p><p>
&#8220;And let&#8217;s go back to the brass-knuckle-looking taser,&#8221; Gilligan said. </p><p>
&#8220;Fly in the brass-knuckle taser!&#8221; a nearby crew member shouted into a walkie-talkie. </p><p>
As the cameras were moved into place, Gilligan, who is 44 and speaks in a lyrical Southern drawl, reminisced fondly about some of the torments he has inflicted on Jesse Pinkman. One of the most gruesome was a plunge through the roof of a Port-a-Potty in a junkyard in Season 2. </p><p>
&#8220;The original version was that he was going to get bit by a guard dog,&#8221; Gilligan said, leaning up against a rail and squinting against the New Mexico sun. &#8220;But the guard dog would have cost us $25,000, and we didn&#8217;t have the money. So we came up with the $5,000 outhouse gag. Which is quite a bit more memorable.&#8221; </p><p>
Mordantly amusing ordeals are a specialty on &#8220;Breaking Bad,&#8221; which begins its fourth season on July 17. Credit the show&#8217;s forbiddingly grim premise: A 50-year-old high-school chemistry teacher named Walter White (played by Bryan Cranston) finds out he has terminal lung cancer and starts making crystal meth, hoping to leave behind a nest egg for his son and pregnant wife. Walter, it emerges, is a chemistry wizard, and after teaming up with Pinkman, a burnout student he once flunked, the pair drive a ramshackle R.V. into the desert and confect the purest, most coveted meth that local dealers have ever known. With the death penalty of his diagnosis looming, Walt wakes from the slumber of an unfulfilling life, evolving from feckless drudge to reluctant part-time criminal, then gradually to something worse. </p><p>
In its first season, &#8220;Breaking Bad&#8221; seemed like the story of the nuttiest midlife crisis ever, told with elements that felt vaguely familiar. The structure &#8212; felonious dad copes with stress of work and family; complications ensue &#8212; owed an obvious debt to &#8220;The Sopranos,&#8221; and the collision of regular people and colorfully violent thugs nodded to Tarantino. The story and setting were an update of the spaghetti Western, minus the cowboys and set in the present. </p><p>
But it was soon clear that &#8220;Breaking Bad&#8221; was something much more satisfying and complex: a revolutionary take on the serial drama. What sets the show apart from its small-screen peers is a subtle metaphysical layer all its own. As Walter inches toward damnation, Gilligan and his writers have posed some large questions about good and evil, questions with implications for every kind of malefactor you can imagine, from Ponzi schemers to terrorists. Questions like: Do we live in a world where terrible people go unpunished for their misdeeds? Or do the wicked ultimately suffer for their sins? </p><p>
Gilligan has the nerve to provide his own hopeful answer. &#8220;Breaking Bad&#8221; takes place in a universe where nobody gets away with anything and karma is the great uncredited player in the cast. This moral dimension might explain why &#8220;Breaking Bad&#8221; has yet to achieve pop cultural breakthrough status, at least on the scale of other cable hits set in decidedly amoral universes, like &#8220;True Blood&#8221; or &#8220;Mad Men,&#8221; AMC&#8217;s far-more-buzzed-about series that takes place in an ad agency in the &#8217;60s. The total audience for &#8220;Breaking Bad&#8221; is only slightly smaller than that of &#8220;Mad Men&#8221; &#8212; 19.5 million versus 22.4 million cumulative viewers in their respective third seasons &#8212; but the top three markets for &#8220;Breaking Bad&#8221; are Albuquerque/Santa Fe, Kansas City and Memphis; neither New York nor Los Angeles are in its top 10. The show, in other words, doesn&#8217;t play on the coasts. It gets chatter, just not among what has long been considered the chattering class. </p><nyt_author_id><div class="authorIdentification">
<p>David Segal is a reporter for the Business section of The New York Times. His most recent article in the magazine was about the New York Cosmos. Editor: Adam Sternbergh (a.sternbergh-MagGroup@nytimes.com)</p> </div>
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Which might make Gilligan TV&#8217;s first true red-state auteur. His characters lead middle-American lives in a middle-American place, and they are beset with middle-American problems. They speak like middle Americans too, and they inhabit a realm of moral ambiguities that&#8217;s overseen by a man with both a wicked sense of humor and a highly refined sense of right and wrong. </p>
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&#8220;If there&#8217;s a larger lesson to &#8216;Breaking Bad,&#8217; it&#8217;s that actions have consequences,&#8221; Gilligan said during lunch one day in his trailer. &#8220;If religion is a reaction of man, and nothing more, it seems to me that it represents a human desire for wrongdoers to be punished. I hate the idea of Idi Amin living in Saudi Arabia for the last 25 years of his life. That galls me to no end.&#8221; </p><p>
He paused for a moment and speared a few tater tots in a white plastic-foam tray perched on his lap. </p><p>
&#8220;I feel some sort of need for biblical atonement, or justice, or something,&#8221; he said between chews. &#8220;I like to believe there is some comeuppance, that karma kicks in at some point, even if it takes years or decades to happen,&#8221; he went on. &#8220;My girlfriend says this great thing that&#8217;s become my philosophy as well. &#8216;I want to believe there&#8217;s a heaven. But I can&#8217;t not believe there&#8217;s a hell.&#8217; &#8221; </p><p>
&#8216;Breaking Bad&#8221; was born out of a conversation in 2004 between Gilligan and a friend named Thomas Schnauz, who is now a writer on the show. Schnauz had just read a story about a man cooking meth in an apartment complex, which had sickened kids in apartments above. Saddam Hussein&#8217;s putative mobile chemical-weapons labs came up in the conversation, too. </p><p>
&#8220;Neither of us were working,&#8221; Schnauz says, &#8220;and we were like two 70-year-old men who like to complain about the world. And somehow we spun off into the idea of driving around in a mobile lab, cooking meth. It was a joke and not something I would have ever thought about again. But a couple days later Vince called back and said: &#8216;Remember we were talking about that mobile lab and meth? Do you mind if I run with that?&#8217; &#8221; </p><p>
A show about a very smart middle-aged guy who hadn&#8217;t quite achieved his dreams had a faintly autobiographical whiff for Gilligan at the time. He grew up in Farmville, Va., a town of roughly 6,000 people, not far from Appomattox, the site of the South&#8217;s surrender in the Civil War. His father was an insurance claims adjuster, and his mother was a grade-school teacher who had a brief career as a wing walker. &#8220;Vince was an acolyte in the Catholic Church,&#8221; Gail Gilligan says, though she notes that he also played Dungeons and Dragons. &#8220;There was certainly a lot of evil in that game, but it never seemed to affect him adversely.&#8221; </p><p>
Gilligan earned a partial scholarship to attend New York University&#8217;s film program, where his instructors included Jesse Kornbluth, who remembers a polite kid who was so good at drawing bent, violent characters that Kornbluth initially pegged him as the &#8220;go postal&#8221; type. &#8220;In the end, he turned us all into his audience,&#8221; Kornbluth said to me. &#8220;We were all just mesmerized. Attendance was unnaturally high on days when he was reading his scenes.&#8221; </p><p>
After graduating, Gilligan won a screenplay contest in 1989, and one of the judges, a producer named Mark Johnson (now an executive producer on &#8220;Breaking Bad&#8221;), helped him find an agent and sell scripts to Hollywood. Two of them, &#8220;Home Fries,&#8221; starring Drew Barrymore, and &#8220;Wilder Napalm,&#8221; starring Debra Winger and Dennis Quaid, were turned into films. It was a promising start. Gilligan bought a house outside Richmond, assuming that he would keep lobbing movie scripts to Los Angeles, which would keep lobbing money back. That did not happen. By 1994, the money dried up and he lost his writer&#8217;s guild health insurance. That year, his agent got Gilligan a meeting with Chris Carter, the creator of &#8220;The X-Files.&#8221; </p><nyt_author_id><div class="authorIdentification">
<p>David Segal is a reporter for the Business section of The New York Times. His most recent article in the magazine was about the New York Cosmos. Editor: Adam Sternbergh (a.sternbergh-MagGroup@nytimes.com)</p> </div>
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&#8220;I pitched them an idea about a guy whose shadow comes to life and sucks people in like a black hole and kills them,&#8221; he recalls. &#8220;They bought that as a freelance episode, and then I moved to California.&#8221; He spent seven years as a writer and producer on &#8220;The X-Files,&#8221; his first full-time TV job. The gig died with the show in 2002, and what followed was another succession of false starts and disappointments. There was &#8220;Lone Gunman,&#8221; a show for Fox, which expired after one year, and one for CBS called &#8220;Battle Creek,&#8221; which failed to ignite. </p>
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&#8220;I&#8217;ve had two fallow periods in my life,&#8221; Gilligan said. The first one was after his two movies were made. &#8220;The second was the five years after &#8216;X-Files.&#8217; Money wasn&#8217;t as big an issue as it was the first time, but as a writer you always want to be working on something that has a hope in hell of being made.&#8221; </p><p>
In its basic outline, &#8220;Breaking Bad&#8221; &#8212; the title is a Southern phrase for going wild &#8212; also seemed destined for rejection. Its concept sounded a lot like that of &#8220;Weeds,&#8221; Showtime&#8217;s suburban pot-dealer series. Plus, its lead character is given a diagnosis of cancer within the first 20 minutes, and the action centers on one of the most destructive (and unglamorous) drugs known to man. Not to mention that the show ditches Rule No. 1 of series TV: the personality of the main character must stay the same. </p><p>
&#8220;Television is really good at protecting the franchise,&#8221; Gilligan said. &#8220;It&#8217;s good at keeping the Korean War going for 11 seasons, like &#8216;M*A*S*H.&#8217; It&#8217;s good at keeping Marshal Dillon policing his little town for 20 years. By their very nature TV shows are open-ended. So I thought, Wouldn&#8217;t it be interesting to have a show that takes the protagonist and transforms him into the antagonist?&#8221; </p><p>
That was the pitch to AMC executives in 2007. The network was searching for a second original series, to go along with &#8220;Mad Men,&#8221; which made its debut that year. The goal was to find something set in the present, so that AMC wasn&#8217;t pigeonholed as the home of period television. And management wanted a conceit that would skew male and complement the network&#8217;s library of antihero action movies, the kind that star Clint Eastwood and Charles Bronson. Sitting in his Manhattan office, Charlie Collier, the president of AMC, recalls his introduction to Gilligan&#8217;s work: &#8220;Our development team put the pilot script on my desk and said, &#8216;Just read this.&#8217; &#8221; </p><p>
At the time that Gilligan conceived &#8220;Breaking Bad,&#8221; his past success, plus all the hackwork offers that could have kept him busy for years, fortified his sense that only a show built to his iconoclastic sensibility was worth doing. He wanted a show devoid of snappy banter (of the kind that Aaron Sorkin writes), and one that doesn&#8217;t flatter you for getting its winking references (as Matthew Weiner does in &#8220;Mad Men,&#8221; with his chain-smoking doctors and kids playing with dry-cleaning bags). And he wanted a leading man who would not only change over the course of the series but also suffer crushing reversals with lasting impact. </p><p>
That is something new. The depravities of leading men in TV dramas traditionally don&#8217;t leave permanent scars. Don Draper of &#8220;Mad Men&#8221; is still pretty much the tippling rake he has been from the start, despite a flirtation or two with confession and reform. Tony Soprano tried, through therapy, to improve as a human being, but he didn&#8217;t get very far. Dr. House of &#8220;House&#8221; will always be a brilliant cuss. Walter White progresses from unassuming savant to opportunistic gangster &#8212; and as he does so, the show dares you to excuse him, or find a moral line that you deem a point of no return. </p><nyt_author_id><div class="authorIdentification">
<p>David Segal is a reporter for the Business section of The New York Times. His most recent article in the magazine was about the New York Cosmos. Editor: Adam Sternbergh (a.sternbergh-MagGroup@nytimes.com)</p> </div>
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In 2007, if you needed an actor to dramatize so profound a transformation, Bryan Cranston would have seemed an unlikely choice. Before &#8220;Breaking Bad,&#8221; he was known as the dad in &#8220;Malcolm in the Middle,&#8221; a broadly comic role. When Gilligan told AMC executives that he wanted Cranston to play Walter, they initially were baffled. Then Gilligan explained that years earlier, he cast Cranston in an episode of &#8220;The X-Files.&#8221; &#8220;We had this villain, and we needed the audience to feel bad for him when he died,&#8221; Gilligan said. &#8220;Bryan alone was the only actor who could do that, who could pull off that trick. And it is a trick. I have no idea how he does it.&#8221; </p>
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Meeting Bryan Cranston only deepens the mystery. He is Walter&#8217;s opposite. The character is coiled and burdened, while Cranston in person is buoyant. Walter&#8217;s default facial expression is a rictus of angst, while Cranston&#8217;s is a mischievous smile. Cranston looks at least five years younger than the character, and his co-stars say, he often behaves like a 10-year-old. Aaron Paul described Cranston as &#8220;a kid trapped in a man&#8217;s body.&#8221; Anna Gunn, who plays Skyler, Walter&#8217;s wife, says that she has never seen an adult more amused by stuffing fruit down his pants. But Cranston&#8217;s performance as Walter White has made history, winning three Emmys in a row for outstanding lead in a drama series, the first actor to do so since Bill Cosby in &#8220;I Spy&#8221; in the mid-&#8217;60s. </p><p>
&#8220;Physically, to create Walter White, I use my dad,&#8221; he said one night over dinner. &#8220;My dad is 87 years old. I&#8217;m not going to dodder, but Walter is always a little hunched over, never erect. The message to the audience is that the weight of the world is on this man&#8217;s shoulders.&#8221; </p><p>
Cranston is from the total-commitment school of acting, and he once famously did a scene in &#8220;Malcolm in the Middle&#8221; while covered head to toe with bees. When Gilligan declined to fill in large holes in Walter&#8217;s back story, Cranston sat down and wrote out one of his own. On a handful of occasions, he has flagged lines in the script that felt false to him. Cranston reads each episode about a week in advance so that these bumps can be smoothed over before it&#8217;s time to start shooting. When he can&#8217;t resolve the issue with the writer on the set that week, a call is placed to Gilligan, who is usually in the writer&#8217;s room in Burbank. &#8220;It&#8217;s up to them, but I won&#8217;t bend unless I&#8217;m convinced it&#8217;s the right thing to do,&#8221; Cranston says. &#8220;Convince me and I&#8217;ll do it. I have a theory &#8212; our job isn&#8217;t to lie to the audience, our job is to find the truth in the character. If we lie, we&#8217;re giving the audience a little pinch of poison. They won&#8217;t even know they ingested it. But if you lie again and again and again, all of a sudden, your audience is going, &#8216;This isn&#8217;t working for me.&#8217; They just feel sick, and they turn you off.&#8221; </p><p>
Cranston has found many nuanced ways to enact Walt&#8217;s many miseries, the most wrenching of which was the loss of his wife&#8217;s love. There is a long history in art of foisting suffering on characters who sin, but it seems to have fallen out of favor. As awful as Tony Soprano was, it&#8217;s left purposefully unclear at the end of &#8220;The Sopranos&#8221; whether he paid the ultimate price. Or consider the &#8220;simple chaos&#8221; take on the universe as represented in movies by Woody Allen, a director whom Gilligan admires. &#8220;And Woody Allen may be right,&#8221; Gilligan says. &#8220;I&#8217;m pretty much agnostic at this point in my life. But I find <a href="http://topics.nytimes.com/top/reference/timestopics/subjects/a/atheism/index.html?inline=nyt-classifier" title="More articles about atheism." class="meta-classifier">atheism</a> just as hard to get my head around as I find fundamental Christianity. Because if there is no such thing as cosmic justice, what is the point of being good? That&#8217;s the one thing that no one has ever explained to me. Why shouldn&#8217;t I go rob a bank, especially if I&#8217;m smart enough to get away with it? What&#8217;s stopping me?&#8221; </p><p>
On a cloudless day in May, five members of the cast and a scrum of crew members were shooting in what is referred to as &#8220;the Schrader house,&#8221; the home of Walter&#8217;s in-laws, Hank and Marie Schrader. It&#8217;s rented from a local couple and sits in the shadows of the type of steep, reddish mountains that Wile E. Coyote tumbled off chasing the Road Runner. Gilligan was the ringmaster of this circus, standing on the balcony and sipping a jumbo-size and constantly refilled McDonald&#8217;s container of unsweetened iced tea, which he calls brain juice. He was wearing what turned out to be his first pair of designer jeans. They were acquired during a recent shopping spree urged upon him by his girlfriend of 20 years, Holly Rice. His go-to pants have been $12 Wal-Mart jeans, he said, which is what he wore the following day. </p><p>
He watched as a crew member put a series of sunglasses on the face of a 20ish Latino man with a nonspeaking background role. </p><p>
&#8220;I like that one,&#8221; he said when the first pair of dark wraparounds were put on the actor&#8217;s face. </p><p>
On went the second. &#8220;Not as good as the first,&#8221; Gilligan said. </p><p>
Then the third. &#8220;Not as good as the first,&#8221; Gilligan repeated. </p><p>
A fourth. &#8220;Let&#8217;s go with the first.&#8221; </p><p>
This, it turns out, is an abbreviated version of a process that Gilligan goes through with virtually every article of clothing, every choice of color, every prop and every extra who appears in &#8220;Breaking Bad.&#8221; &#8220;You see this shirt?&#8221; said Dean Norris, who plays Hank Schrader, as he sat on the veranda between takes. He spoke in a stage whisper, out of the side of his mouth, like an inmate describing a warden who has gone insane. &#8220;Vince had to see five versions of it before he chose it. <em>Five different shades of a gray T-shirt.</em> That&#8217;s unique,&#8221; he said, heading into the house. &#8220;That&#8217;s beyond.&#8221; </p><nyt_author_id><div class="authorIdentification">
<p>David Segal is a reporter for the Business section of The New York Times. His most recent article in the magazine was about the New York Cosmos. Editor: Adam Sternbergh (a.sternbergh-MagGroup@nytimes.com)</p> </div>
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Perfectionists often don&#8217;t play well with others, but Gilligan seems eager to accommodate everyone with an idea. It&#8217;s a running joke in the cast, the disconnect between Gilligan the person and Gilligan the writer. The former is sweet-tempered and polite; the latter strapped a character&#8217;s severed head to a tortoise, which was then rigged with explosives and blown up as D.E.A. agents swarmed around it. </p>
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During a break in the shooting, I asked Gilligan if, now four seasons into his show, he could explain the gulf between his manners and his material. </p><p>
&#8220;I&#8217;m not the happiest person,&#8221; he said. &#8220;But I respect this crew and these actors. I try to be as cheerful as possible. I fake it pretty well.&#8221; </p><p>
Well, a lot of people can fake cheerful. But how does such a benign-seeming person come up with such malign tales? Gilligan thought for a moment, then quoted Flaubert. &#8220;I&#8217;m not going to get this exactly right, but it&#8217;s something like, &#8216;You should be neat and orderly in your life so you can be violent and original in your work,&#8217; and there&#8217;s something to that,&#8221; he said. &#8220;It&#8217;s fun to explore that darkness and that criminal behavior on the page, but I&#8217;m too timid to do it in real life.&#8221; </p><p>
The pilot of the show opened, memorably, with just such a burst of darkness and violence: Walt driving that R.V. through a desert in a crazed dash, wearing nothing but tighty-whitey briefs and a gas mask. Two male bodies roll in a soup of liquid, broken beakers and cash in the cabin. Cut to three weeks earlier. Walt is a regular schlub, in an unremarkable house, on his way to a mundane job. Gilligan slyly signals his overarching theme when Walter stands before his class and tells his students, &#8220;Chemistry is . . . well, technically it&#8217;s the study of matter, but I prefer to see it as the study of <em>change</em>.&#8221; </p><p>
When you give your lead character a terminal illness, usher him into the underworld and embroil him in ever bolder and more ambitious criminal plans, you create a man who is rushing toward the ultimate change &#8212; from being alive to being dead. Walter White is surely the most doomed character on television, meaning that, just as &#8220;Breaking Bad&#8221; is finally winning acclaim, the end of the series is in sight. Which is just fine with Gilligan. He can imagine a fifth season of &#8220;Breaking Bad,&#8221; but that&#8217;s it. </p><p>
Driving to the set after lunch one day, he told me that Walter White had started off as a person he could imagine chatting with over a beer. </p><p>
&#8220;Now he&#8217;s not quite at the point where I&#8217;d cross the street if I saw him coming,&#8221; he said, with a smile. &#8220;But I wouldn&#8217;t want to be stuck in an elevator with him too long.&#8221; Plotting Walt&#8217;s transgressions has proved wearying enough. &#8220;It&#8217;s hard to write a character that dark and morally ambiguous,&#8221; he said. &#8220;I&#8217;m going to miss the show when it&#8217;s over, but on some level, it&#8217;ll be a relief to not have Walt in my head anymore.&#8221; </p><nyt_author_id><div class="authorIdentification">
<p>David Segal is a reporter for the Business section of The New York Times. His most recent article in the magazine was about the New York Cosmos. Editor: Adam Sternbergh (a.sternbergh-MagGroup@nytimes.com)</p> </div>
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<h1 class="articleHeadline"><NYT_HEADLINE version="1.0" type=" ">The Dark Art of Breaking Bad</NYT_HEADLINE></h1>
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<p class="caption"><strong></strong>Gilligan on the set with the actors Bryan Cranston and Aaron Paul. </p>
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<NYT_BYLINE > <h6 class="byline">By <a rel="author" href="http://topics.nytimes.com/top/reference/timestopics/people/s/david_segal/index.html?inline=nyt-per" title="More Articles by David Segal" class="meta-per">DAVID SEGAL</a></h6>
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<h6 class="dateline">Published: July 6, 2011 </h6>
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In the first three seasons of the AMC series &ldquo;Breaking Bad,&rdquo; Aaron Paul &mdash; or rather, his meth-dealing character, Jesse Pinkman &mdash; has been slapped, mauled and beaten purple by, respectively, a hit man, a sociopath and a federal drug-enforcement agent. If he were a pi&ntilde;ata, the candy would have poured out of this guy long ago. And apparently there is little mercy for Paul in the new season on the way. For there Paul was, one day in late May, standing on Tijeras Avenue in downtown Albuquerque, being tasered by a brawny man in sunglasses. </p>
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<p class="caption">The goal, Gilligan says, was to turn "Mr. Chips into Scarface." </p>
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The street had been blocked off, and a crew of dozens waited as the actors rehearsed the assault with Vince Gilligan, the creator, head writer and show runner, who was also directing the episode. </p><p>
&ldquo;Maybe we play this moment just a little longer, so we know for sure he got zapped,&rdquo; Gilligan said. &ldquo;Otherwise, Jesse would fight back more.&rdquo; </p><p>
&ldquo;Yeah, I like that,&rdquo; Paul said. </p><p>
&ldquo;And let&rsquo;s go back to the brass-knuckle-looking taser,&rdquo; Gilligan said. </p><p>
&ldquo;Fly in the brass-knuckle taser!&rdquo; a nearby crew member shouted into a walkie-talkie. </p><p>
As the cameras were moved into place, Gilligan, who is 44 and speaks in a lyrical Southern drawl, reminisced fondly about some of the torments he has inflicted on Jesse Pinkman. One of the most gruesome was a plunge through the roof of a Port-a-Potty in a junkyard in Season 2. </p><p>
&ldquo;The original version was that he was going to get bit by a guard dog,&rdquo; Gilligan said, leaning up against a rail and squinting against the New Mexico sun. &ldquo;But the guard dog would have cost us $25,000, and we didn&rsquo;t have the money. So we came up with the $5,000 outhouse gag. Which is quite a bit more memorable.&rdquo; </p><p>
Mordantly amusing ordeals are a specialty on &ldquo;Breaking Bad,&rdquo; which begins its fourth season on July 17. Credit the show&rsquo;s forbiddingly grim premise: A 50-year-old high-school chemistry teacher named Walter White (played by Bryan Cranston) finds out he has terminal lung cancer and starts making crystal meth, hoping to leave behind a nest egg for his son and pregnant wife. Walter, it emerges, is a chemistry wizard, and after teaming up with Pinkman, a burnout student he once flunked, the pair drive a ramshackle R.V. into the desert and confect the purest, most coveted meth that local dealers have ever known. With the death penalty of his diagnosis looming, Walt wakes from the slumber of an unfulfilling life, evolving from feckless drudge to reluctant part-time criminal, then gradually to something worse. </p><p>
In its first season, &ldquo;Breaking Bad&rdquo; seemed like the story of the nuttiest midlife crisis ever, told with elements that felt vaguely familiar. The structure &mdash; felonious dad copes with stress of work and family; complications ensue &mdash; owed an obvious debt to &ldquo;The Sopranos,&rdquo; and the collision of regular people and colorfully violent thugs nodded to Tarantino. The story and setting were an update of the spaghetti Western, minus the cowboys and set in the present. </p><p>
But it was soon clear that &ldquo;Breaking Bad&rdquo; was something much more satisfying and complex: a revolutionary take on the serial drama. What sets the show apart from its small-screen peers is a subtle metaphysical layer all its own. As Walter inches toward damnation, Gilligan and his writers have posed some large questions about good and evil, questions with implications for every kind of malefactor you can imagine, from Ponzi schemers to terrorists. Questions like: Do we live in a world where terrible people go unpunished for their misdeeds? Or do the wicked ultimately suffer for their sins? </p><p>
Gilligan has the nerve to provide his own hopeful answer. &ldquo;Breaking Bad&rdquo; takes place in a universe where nobody gets away with anything and karma is the great uncredited player in the cast. This moral dimension might explain why &ldquo;Breaking Bad&rdquo; has yet to achieve pop cultural breakthrough status, at least on the scale of other cable hits set in decidedly amoral universes, like &ldquo;True Blood&rdquo; or &ldquo;Mad Men,&rdquo; AMC&rsquo;s far-more-buzzed-about series that takes place in an ad agency in the &rsquo;60s. The total audience for &ldquo;Breaking Bad&rdquo; is only slightly smaller than that of &ldquo;Mad Men&rdquo; &mdash; 19.5 million versus 22.4 million cumulative viewers in their respective third seasons &mdash; but the top three markets for &ldquo;Breaking Bad&rdquo; are Albuquerque/Santa Fe, Kansas City and Memphis; neither New York nor Los Angeles are in its top 10. The show, in other words, doesn&rsquo;t play on the coasts. It gets chatter, just not among what has long been considered the chattering class. </p><div id="pageLinks"><ul id="pageNumbers"><li> 1 </li><li> <a onClick="s_code_linktrack('Article-MultiPagePageNum2');" title="Page 2" href="/2011/07/10/magazine/the-dark-art-of-breaking-bad.html?pagewanted=2&_r=1">2</a> </li><li> <a onClick="s_code_linktrack('Article-MultiPagePageNum3');" title="Page 3" href="/2011/07/10/magazine/the-dark-art-of-breaking-bad.html?pagewanted=3&_r=1">3</a> </li><li> <a onClick="s_code_linktrack('Article-MultiPagePageNum4');" title="Page 4" href="/2011/07/10/magazine/the-dark-art-of-breaking-bad.html?pagewanted=4&_r=1">4</a> </li><li> <a onClick="s_code_linktrack('Article-MultiPagePageNum5+');" title="Page 5" href="/2011/07/10/magazine/the-dark-art-of-breaking-bad.html?pagewanted=5&_r=1">5</a> </li></ul><a class="next" onClick="s_code_linktrack('Article-MultiPage-Next');"
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<p>David Segal is a reporter for the Business section of The New York Times. His most recent article in the magazine was about the New York Cosmos. Editor: Adam Sternbergh (a.sternbergh-MagGroup@nytimes.com)</p> </div>
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<h6 class="metaFootnote">A version of this article appeared in print on July 10, 2011, on page MM18 of the Sunday Magazine with the headline: Art Of Darkness.</h6>
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<div id="article"><article><p>Put another way, Democrats reacted to the &#8220;grand bargain&#8221; proposed by President Obama and House Speaker John Boehner by squawking, complaining and highlighting elements they didn&#8217;t like. This is known throughout the world as the way to begin a process of negotiation.</p><p>Republicans, by contrast, answered with a definitive &#8220;no&#8221; and then covered their ears. Given the looming Aug. 2 deadline for default if the debt ceiling is not raised, the proper term for this approach is blackmail.</p><p>Yet the &#8220;both sides are to blame&#8221; narrative somehow gained currency after <a href="http://www.washingtonpost.com/business/economy/boehner-abandons-efforts-to-reach-comprehensive-debt-reduction-deal/2011/07/09/gIQARUJ55H_story.html">Boehner announced Saturday</a> that House Republicans would not support any increase in revenue, period. A false equivalence was drawn between the absolute Republican rejection of &#8220;revenue-positive&#8221; tax reform and the less-than-absolute Democratic opposition to &#8220;benefit cuts&#8221; in Medicare and Social Security.</p><p>The bogus story line is that the radical right-wing base of the GOP and the radical left-wing base of the Democratic Party are equally to blame for sinking the deal. </p><p>Leave aside, for the moment, the fact that in the Obama-Boehner proposal, there would be roughly three dollars&#8217; worth of budget cuts for every dollar of new revenue. Don&#8217;t pause to ask whether it makes sense to slash government spending when the economy is still sputtering out of the worst recession in decades. Instead, focus narrowly on the politics of the deal.</p><p>It is true that House Minority Leader Nancy Pelosi howled like a blindsided politician when she learned that entitlement programs were on the table. But her objections &#8212; and those of Democrats in general &#8212; are philosophical and tactical, not absolute.</p><p>Progressives understand that Medicare and Social Security are not sustainable on their current trajectories; in the long term, both must have their revenue and costs brought into balance. Pelosi&#8217;s position is that each program should be addressed with an eye toward sustainability &#8212; not as a part of a last-minute deal for a hike in the debt ceiling that covers us for two or three years.</p><p>It&#8217;s also true that Democrats believe they can win back a passel of House seats next year by highlighting the GOP plan to convert Medicare into a voucher program. They don&#8217;t want Republicans to be able to point and say, &#8220;See, the Democrats want to cut Medicare, too.&#8221;</p><p>There&#8217;s nothing in these Democratic objections, however, that couldn&#8217;t be creatively finessed. You can claim you haven&#8217;t actually &#8220;cut&#8221; a benefit, for example, if what you&#8217;ve done is restrained the rate at which its cost will grow. You can offset spending with new revenue, and you can do so in a way that gives low-income taxpayers a break. Democrats left the door open and these options could have been explored.</p><p>The story on the Republican side is entirely different. There are ways to finesse a &#8220;no new taxes&#8221; pledge, too. Instead of raising tax rates, you close loopholes in the name of reform; you add an enhancement here, a &#8220;user fee&#8221; there, and you can manage to get the revenue you need and still claim you haven&#8217;t voted to raise taxes.</p><p>But Republicans are taking the position that not a cent of new revenue can be raised, no matter the euphemism. Some Democrats, yes, are being scratchy and cantankerous. But Republicans are refusing to negotiate at all. That&#8217;s not the same thing.</p><p>I understand why President Obama, <a href="http://projects.washingtonpost.com/obama-speeches/speech/736/">in his news conference Monday</a>, chided &#8220;each side&#8221; for taking a &#8220;maximalist position.&#8221; For political and practical reasons, it&#8217;s advantageous for him to be seen as an honest broker.</p><p>Meanwhile, though, the clock ticks toward Aug. 2 and the possibility of a catastrophic default becomes more real. And no one should be confused about what the president confronts: On one side, grousing and grumbling. On the other, a brick wall. </p><p>
<i>
<a href="http://live.washingtonpost.com/eugene-robinson-07-12-11.html">Eugene Robinson will be online</a> to chat with readers at 1 p.m. Eastern time Tuesday. <a href="http://live.washingtonpost.com/eugene-robinson-07-12-11.html">Submit your questions</a> before or during the discussion.</i>
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test_description: washingtonpost.com op-ed
url: http://www.washingtonpost.com/opinions/dont-blame-both-sides-for-debt-impasse/2011/07/11/gIQA0XDg9H_story.html?hpid=z1

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<h1 class="articleHeadline"><NYT_HEADLINE version="1.0" type=" ">Watches Are Rediscovered by the Cellphone Generation</NYT_HEADLINE></h1>
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<NYT_BYLINE > <h6 class="byline">By ALEX WILLIAMS</h6>
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<h6 class="dateline">Published: July 6, 2011 </h6>
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MICHAEL WILLIAMS, who runs <a title="The Web site." href="http://www.acontinuouslean.com/">A Continuous Lean</a>, a men&rsquo;s style blog, ditched his Timex when he got his first cellphone in 2001. </p>
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<p class="caption"><strong>ANALOG LOVE</strong> Andy Greenblatt of Watchismo, an online retailer that has seen more interest from a generation of men who rely on their  cellphones for the time. </p>
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Tyler Thoreson, the head of men&rsquo;s editorial for Gilt Man, the flash sale Web site, often kept his forgettable watches stashed in a drawer. </p><p>
And Eddy Chai, an owner of Odin New York, a downtown men&rsquo;s boutique, gave up wearing watches regularly in his mid-20s, when he outgrew his Casio. </p><p>
But after going watch-free for much of the last decade, the three men &mdash; all in their 30s and considered style influencers &mdash; are turning back time. Mr. Thoreson, 38, is shopping for a vintage gold IWC with a white dial or a Rolex GMT-Master. Mr. Chai, 38, has been wearing a vintage Rolex, loosely dangling around his wrist, &ldquo;not as a timepiece, but as a piece of jewelry,&rdquo; he said. </p><p>
And Mr. Williams, 32, splurged on three watches: an IWC Portuguese, a Rolex GMT-Master II and an Omega Speedmaster, also known as the &ldquo;moon watch,&rdquo; since that is what Apollo astronauts wore. </p><p>
&ldquo;The men&rsquo;s-wear set has recently rediscovered the joy of proper mechanical timepieces,&rdquo; Mr. Williams said. &ldquo;Right now there is no clearer indication of cool than wearing a watch. If it was your grandfather&rsquo;s bubbleback Rolex, even better.&rdquo; </p><p>
As recently as a half-decade ago, time seemed to be running out for the wristwatch. With cellphones, iPods and other clock-equipped devices becoming ubiquitous, armchair sociologists were writing off the wristwatch as an antique, joining VHS tapes, Walkman players and pocket calculators on the slag heap of outmoded gadgets. </p><p>
The wristwatch &ldquo;may be going the way of the abacus,&rdquo; declared a news article in The Sacramento Bee in 2006. The Times of London had it &ldquo;going the same way as the sundial.&rdquo; The Boston Globe, in a 2005 lifestyle feature, was more definitive: &ldquo;Anyone who needs to know the time these days would be wise to ask someone over the age of 30. To most young people, the wristwatch is an obsolete artifact.&rdquo; </p><p>
Or, not. </p><p>
The &ldquo;sundial&rdquo; of the wrist is experiencing an uptick among members of the supposed lost generation, particularly by heritage-macho types in their 20s and 30s who are drawn to the wristwatch&rsquo;s retro appeal, just as they have seized on straight razors, selvedge denim and vintage vinyl. </p><p>
"It&rsquo;s an understated statement about your station in life, your taste level,&rdquo; Mr. Thoreson said. </p><p>
He got a taste of the pent-up demand last fall, when Gilt organized a high-end vintage watch sale with Benjamin Clymer, 28, who runs an online magazine for watch enthusiasts called<a href="http://www.hodinkee.com/"> Hodinkee.com</a>. (Mr. Clymer, a former UBS manager, said his site attracts 250,000 unique visitors a month, more than half of them under 40.) </p><p>
Fourteen of the 17 watches, with an average price of $4,800, sold in the first six hours. Gilt now holds a watch sale every month. &ldquo;In certain circles,&rdquo; Mr. Thoreson said, &ldquo;if you don&rsquo;t have a substantial timepiece with some pedigree, you feel like you&rsquo;re missing out on something.&rdquo; </p><p>
To be fair, the doomsayers were not entirely wrong. Few people actually need a watch to tell time anymore. Melanie Shreffler, editor in chief of<a href="http://www.ypulse.com/"> Ypulse</a>, a Web site and market research company that tracks youth trends, observed, &ldquo;even the high school and college students who wear watches usually pull out their cellphones to check the time.&rdquo; </p><p>
But that&rsquo;s the point. A watch these days may strike some people as an impractical, frivolous and often costly way to express individual style. But that is just another way of saying that it&rsquo;s fashion. </p><p>
&ldquo;Considering how casual most people dress on a day-to-day basis, a glamorous watch is one of the few accessories that can be at once sporty, luxurious and utilitarian,&rdquo; the designer Michael Kors wrote in an e-mail. Mr. Kors has a line of oversize chronographs, manufactured by Fossil, that is popular among women (they are a current must-have accessory among under-30 fashion assistant types in Manhattan). </p><p>
For a generation raised on Game Boys, however, the appeal seems to go a little deeper than just a desire for another fashion accessory. In a world surrounded by ever-glowing LCD screens, there&rsquo;s an analog chic to wearing a mechanical instrument. </p><p>
&ldquo;A cool machine that is all moving parts has got to be intrinsically interesting to someone born into this generation, because there&rsquo;s just nothing like that in their life,&rdquo; said Mitch Greenblatt, a founder, with his brother, Andy, of <a href="http://www.watchismo.com/">Watchismo</a>, a California online retailer of design-forward watches. </p><div id="pageLinks"><ul id="pageNumbers"><li> 1 </li><li> <a onClick="s_code_linktrack('Article-MultiPagePageNum2');" title="Page 2" href="/2011/07/07/fashion/watches-are-rediscovered-by-the-cellphone-generation.html?pagewanted=2&_r=2">2</a> </li></ul><a class="next" onClick="s_code_linktrack('Article-MultiPage-Next');"
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<h3><a href="http://www.nytimes.com/roomfordebate/2012/04/17/is-veganism-good-for-everyone/">Is Veganism For Everyone?</a></h3>
<p class="summary">It&rsquo;s a commitment, so Room for Debate asks, does the regimen really have enough benefits to benefit all body types and mindsets?</p>
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<a href="http://www.nytimes.com/pages/dining/index.html">Dining & Wine &raquo;</a>
</h6>
<div class="mothImage">
<a href="http://www.nytimes.com/2012/04/18/dining/reviews/alison-eighteen-in-manhattan.html"><img src="http://i1.nyt.com/images/2012/04/18/dining/18MOTH_REST/18MOTH_REST-moth.jpg" alt="Restaurant Review: Alison Eighteen" width="151" height="151" /></a>
</div>
<h6 class="headline"><a href="http://www.nytimes.com/2012/04/18/dining/reviews/alison-eighteen-in-manhattan.html">Restaurant Review: Alison Eighteen</a></h6>
</div>
</td>
<td class="hidden">
<div class="story">
<h6 class="kicker">
<a href="http://www.nytimes.com/pages/health/index.html">Health &raquo;</a> </h6>
<div class="mothImage">
<a href="http://well.blogs.nytimes.com/2012/04/16/does-exercise-make-you-overeat/"><span class="img" src="http://i1.nyt.com/images/2012/04/17/blogs/17physed_MOTH/17physed_MOTH-moth.jpg" alt="Does Exercise Make You Overeat?" width="151" height="151" /></a>
</div>
<h6 class="headline"><a href="http://well.blogs.nytimes.com/2012/04/16/does-exercise-make-you-overeat/">Does Exercise Make You Overeat?</a></h6>
</div>
</td>
<td class="hidden">
<div class="story">
<h6 class="kicker">
<a href="http://www.nytimes.com/pages/arts/design/index.html">Art & Design &raquo;</a>
</h6>
<div class="mothImage">
<a href="http://www.nytimes.com/2012/04/18/arts/design/renzo-pianos-demure-additions-to-le-corbusiers-chapel.html"><span class="img" src="http://i1.nyt.com/images/2012/04/18/arts/design/18moth_chapel/18moth_chapel-moth.jpg" alt="Quiet Additions to a Modernist Masterpiece" width="151" height="151" /></a>
</div>
<h6 class="headline"><a href="http://www.nytimes.com/2012/04/18/arts/design/renzo-pianos-demure-additions-to-le-corbusiers-chapel.html">Quiet Additions to a Modernist Masterpiece</a></h6>
</div>
</td>
<td class="hidden">
<div class="story">
<h6 class="kicker">
<a href="http://www.nytimes.com/pages/sports/index.html">Sports &raquo;</a>
</h6>
<div class="mothImage">
<a href="http://www.nytimes.com/2012/04/18/sports/patrick-steele-carroll-academys-security-director.html"><span class="img" src="http://i1.nyt.com/images/2012/04/18/sports/18moth_carroll/18moth_carroll-moth.jpg" alt="&lsquo;I Know What It Feels Like&rsquo;" width="151" height="151" /></a>
</div>
<h6 class="headline"><a href="http://www.nytimes.com/2012/04/18/sports/patrick-steele-carroll-academys-security-director.html">&lsquo;I Know What It Feels Like&rsquo;</a></h6>
</div>
</td>
<td class="hidden">
<div class="story">
<h6 class="kicker"><a href="http://www.nytimes.com/pages/opinion/index.html">Opinion &raquo;</a></h6>
<h3><a href="http://www.nytimes.com/2012/04/18/opinion/a-deft-health-care-move.html">Editorial: A Deft Move</a></h3>
<p class="summary">Gov. Andrew Cuomo wisely issued an executive order to establish a health insurance exchange after state lawmakers failed to do so.</p>
</div>
</td>
<td class="hidden">
<div class="story">
<h6 class="kicker">
<a href="http://www.nytimes.com/pages/arts/television/index.html">Television &raquo;</a>
</h6>
<div class="mothImage">
<a href="http://www.nytimes.com/2012/04/18/arts/television/julian-assange-starts-talk-show-on-russian-tv.html"><span class="img" src="http://i1.nyt.com/images/2012/04/18/arts/television/18moth_watch/18moth_watch-moth.jpg" alt="The Prisoner as Talk Show Host" width="151" height="151" /></a>
</div>
<h6 class="headline"><a href="http://www.nytimes.com/2012/04/18/arts/television/julian-assange-starts-talk-show-on-russian-tv.html">The Prisoner as Talk Show Host</a></h6>
</div>
</td>
<td class="hidden">
<div class="story">
<h6 class="kicker">
<a href="http://www.nytimes.com/pages/opinion/index.html">Opinion &raquo;</a> </h6>
<div class="mothImage">
<a href="http://opinionator.blogs.nytimes.com/2012/04/17/whos-afraid-of-greater-luxembourg/"><span class="img" src="http://i1.nyt.com/images/2012/04/18/opinion/18moth_borderlines/18moth_borderlines-moth.jpg" alt="Borderlines: Who&rsquo;s Afraid of Greater Luxembourg?" width="151" height="151" /></a>
</div>
<h6 class="headline"><a href="http://opinionator.blogs.nytimes.com/2012/04/17/whos-afraid-of-greater-luxembourg/">Borderlines: Who&rsquo;s Afraid of Greater Luxembourg?</a></h6>
</div>
</td>
</tr>
</tbody>
</table>
</div>
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@ -0,0 +1,55 @@
import os
import unittest
from readability_lxml.readability import Document
SAMPLES = os.path.join(os.path.dirname(__file__), 'samples')
def load_sample(filename):
"""Helper to get the content out of the sample files"""
return open(os.path.join(SAMPLES, filename)).read()
class TestArticleOnly(unittest.TestCase):
"""The option to not get back a full html doc should work
Given a full html document, the call can request just divs of processed
content. In this way the developer can then wrap the article however they
want in their own view or application.
"""
def test_si_sample(self):
"""Using the si sample, load article with only opening body element"""
sample = load_sample('si-game.sample.html')
doc = Document(
sample,
url='http://sportsillustrated.cnn.com/baseball/mlb/gameflash/2012/04/16/40630_preview.html')
res = doc.summary()
self.assertEqual('<html><body id="page"><div><div class', res[0:37])
def test_si_sample_html_partial(self):
"""Using the si sample, make sure we can get the article alone."""
sample = load_sample('si-game.sample.html')
doc = Document(sample, url='http://sportsillustrated.cnn.com/baseball/mlb/gameflash/2012/04/16/40630_preview.html')
res = doc.summary(enclose_with_html_tag=False)
self.assertEqual('<div id="page"><div class="', res[0:27])
def test_si_sample_full_summary(self):
"""We should parse the doc and get a full summary with confidence"""
sample = load_sample('si-game.sample.html')
doc = Document(sample, url='http://sportsillustrated.cnn.com/baseball/mlb/gameflash/2012/04/16/40630_preview.html')
res = doc.summary_with_metadata(enclose_with_html_tag=False)
self.assertTrue(hasattr(res, 'html'),
'res should have an html attrib')
self.assertTrue(hasattr(res, 'confidence'),
'res should have an html attrib')
self.assertTrue(hasattr(res, 'title'),
'res should have an titile attrib')
self.assertTrue(hasattr(res, 'short_title'),
'res should have an short_title attrib')
self.assertEqual('<div id="page"><div class="', res.html[0:27])
self.assertTrue(res.confidence > 50,
'The confidence score should be larger than 50: ' + str(res.confidence))

@ -0,0 +1,253 @@
import os
import unittest
from lxml.html import document_fromstring
from lxml.html.diff import htmldiff
from helpers import load_regression_data
from helpers import REGRESSION_DATA
from readability_lxml.readability import Document
from readability_lxml import readability as r
from readability_lxml import urlfetch
class TestReadabilityDocument(unittest.TestCase):
"""Test the Document parser."""
def test_none_input_raises_exception(self):
"""Feeding a None input to the document should blow up."""
doc = None
self.assertRaises(ValueError, Document, doc)
class TestFindBaseUrl(unittest.TestCase):
def setUp(self):
self.longMessage = True
def _assert_url(self, url, expected_base_url, msg = None):
actual_base_url = r.find_base_url(url)
self.assertEqual(expected_base_url, actual_base_url, msg)
def _run_urls(self, specs):
"""
Asserts expected results on a sequence of specs, where each spec is a
pair: (URL, expected base URL).
"""
for spec in specs:
url = spec[0]
expected = spec[1]
if len(spec) > 2:
msg = spec[2]
else:
msg = None
self._assert_url(url, expected, msg)
def test_none(self):
self._assert_url(None, None)
def test_no_change(self):
url = 'http://foo.com/article'
self._assert_url(url, url)
def test_extension_stripping(self):
specs = [
(
'http://foo.com/article.html',
'http://foo.com/article',
'extension should be stripped'
),
(
'http://foo.com/path/to/article.html',
'http://foo.com/path/to/article',
'extension should be stripped'
),
(
'http://foo.com/article.123not',
'http://foo.com/article.123not',
'123not is not extension'
),
(
'http://foo.com/path/to/article.123not',
'http://foo.com/path/to/article.123not',
'123not is not extension'
)
]
self._run_urls(specs)
def test_ewcms(self):
self._assert_url(
'http://www.ew.com/ew/article/0,,20313460_20369436,00.html',
'http://www.ew.com/ew/article/0,,20313460_20369436'
)
def test_page_numbers(self):
specs = [
(
'http://foo.com/page5.html',
'http://foo.com',
'page number should be stripped'
),
(
'http://foo.com/path/to/page5.html',
'http://foo.com/path/to',
'page number should be stripped'
),
(
'http://foo.com/article-5.html',
'http://foo.com/article',
'page number should be stripped'
)
]
self._run_urls(specs)
def test_numbers(self):
specs = [
(
'http://foo.com/5.html',
'http://foo.com',
'number should be stripped'
),
(
'http://foo.com/path/to/5.html',
'http://foo.com/path/to',
'number should be stripped'
)
]
self._run_urls(specs)
def test_index(self):
specs = [
(
'http://foo.com/index.html',
'http://foo.com',
'index should be stripped'
),
(
'http://foo.com/path/to/index.html',
'http://foo.com/path/to',
'index should be stripped'
)
]
self._run_urls(specs)
def test_short(self):
specs = [
(
'http://foo.com/en/1234567890',
'http://foo.com/1234567890',
'short segment should be stripped'
),
(
'http://foo.com/en/de/1234567890',
'http://foo.com/en/1234567890',
'short segment should be stripped'
)
]
self._run_urls(specs)
class TestMultiPageHelpers(unittest.TestCase):
def test_find_next_page_url(self):
"""Verify we can find a next page url in the html body"""
html = """
<html><body><a href="/?page=2">next</a></body></html>
"""
from lxml.html import document_fromstring
doc = document_fromstring(html)
res = r.find_next_page_url(set(), None, doc)
self.assertEqual('/?page=2', res,
'Should find out page 2 url in the body.')
class TestFindNextPageLink(unittest.TestCase):
def _test_page(self, url, html_path, expected):
html = load_regression_data(html_path)
doc = r.parse(html, url)
parsed_urls = {url}
actual = r.find_next_page_url(parsed_urls, url, doc)
self.assertEqual(expected, actual)
def test_basic(self):
self._test_page(
'http://basic.com/article.html',
'basic-multi-page.html',
'http://basic.com/article.html?pagewanted=2'
)
def test_nytimes(self):
# This better work for the New York Times.
self._test_page(
'http://www.nytimes.com/2011/07/10/magazine/the-dark-art-of-breaking-bad.html',
'nytimes-next-page.html',
'http://www.nytimes.com/2011/07/10/magazine/the-dark-art-of-breaking-bad.html?pagewanted=2&_r=1'
)
class TestMultiPage(unittest.TestCase):
"""
Tests the full path of generating a readable page for a multi-page article.
The test article is very simple, so this test should be resilient to tweaks
of the algorithm.
"""
def _make_basic_urldict(self):
url_fmt = 'http://basic.com/article.html?pagewanted=%s'
file_fmt = 'basic-multi-page-%s.html'
pairs = [(url_fmt % i, os.path.join(REGRESSION_DATA, file_fmt % i)) for i in ['2', '3']]
return dict(pairs)
def test_basic(self):
html = load_regression_data('basic-multi-page.html')
urldict = self._make_basic_urldict()
fetcher = urlfetch.MockUrlFetch(urldict)
options = {
'url': 'http://basic.com/article.html',
'multipage': True,
'urlfetch': fetcher
}
doc = Document(html, **options)
res = doc.summary_with_metadata()
self.assertIn('Page 2', res.html, 'Should find the page 2 heading')
self.assertIn('Page 3', res.html, 'Should find the page 3 heading')
expected_html = load_regression_data('basic-multi-page-expected.html')
diff_html = htmldiff(expected_html, res.html)
diff_doc = document_fromstring(diff_html)
insertions = diff_doc.xpath('//ins')
deletions = diff_doc.xpath('//del')
if len(insertions) != 0:
for i in insertions:
print('unexpected insertion: %s' % i.xpath('string()'))
self.fail('readability result does not match expected')
if len(deletions) != 0:
for i in deletions:
print('unexpected deletion: %s' % i.xpath('string()'))
self.fail('readability result does not match expected')
class TestIsSuspectedDuplicate(unittest.TestCase):
def setUp(self):
super(TestIsSuspectedDuplicate, self).setUp()
html = load_regression_data('duplicate-page-article.html')
self._article = r.fragment_fromstring(html)
def test_unique(self):
html = load_regression_data('duplicate-page-unique.html')
page = r.fragment_fromstring(html)
self.assertFalse(r.is_suspected_duplicate(self._article, page))
def test_duplicate(self):
html = load_regression_data('duplicate-page-duplicate.html')
page = r.fragment_fromstring(html)
self.assertTrue(r.is_suspected_duplicate(self._article, page))

@ -0,0 +1,24 @@
"""Process all of the samples and make sure that process without error."""
import os
import unittest
from helpers import load_sample
from readability_lxml.readability import Document
sample_list = [
'nyt.sample.html',
'si-game.sample.html',
]
def test_processes():
for article in sample_list:
yield process_article, article
def process_article(article):
sample = load_sample(article)
doc = Document(sample)
res = doc.summary()
failed_msg = "Failed to process the article: " + res[0:37]
assert '<html><body id="page"><div><div class' == res[0:37], failed_msg

@ -1,39 +0,0 @@
import os
import unittest
from readability import Document
SAMPLES = os.path.join(os.path.dirname(__file__), 'samples')
def load_sample(filename):
"""Helper to get the content out of the sample files"""
return open(os.path.join(SAMPLES, filename)).read()
class TestArticleOnly(unittest.TestCase):
"""The option to not get back a full html doc should work
Given a full html document, the call can request just divs of processed
content. In this way the developer can then wrap the article however they
want in their own view or application.
"""
def test_si_sample(self):
"""Using the si sample, load article with only opening body element"""
sample = load_sample('si-game.sample.html')
doc = Document(
sample,
url='http://sportsillustrated.cnn.com/baseball/mlb/gameflash/2012/04/16/40630_preview.html')
res = doc.summary()
self.assertEqual('<html><body><div><div class', res[0:27])
def test_si_sample_html_partial(self):
"""Using the si sample, make sure we can get the article alone."""
sample = load_sample('si-game.sample.html')
doc = Document(sample, url='http://sportsillustrated.cnn.com/baseball/mlb/gameflash/2012/04/16/40630_preview.html')
res = doc.summary(html_partial=True)
self.assertEqual('<div><div class="', res[0:17])
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