If you mean Jesus, it’s not terribly controversial that there was a historical Jesus, but there were definitely different people writing up material about Jesus, and the Bible contains self-contradictions between those stories. How closely each individual narrative hews to the historical Jesus…shrugs
For example, Christ’s birth is described differently in the different Gospels:
Only the Gospels of Matthew and Luke offer narratives regarding the birth of Jesus.[1] Both rely heavily on the Hebrew scriptures, indicating that they both regard the story as part of Israel’s salvation history, and both present the God of Israel as controlling events.[2] Both agree that Jesus was born in Bethlehem in the reign of King Herod, that his mother was named Mary and that her husband Joseph was descended from King David (although they disagree on details of the line of descent), and both deny Joseph’s biological parenthood while treating the birth, or rather the conception, as divinely effected.[3]
Beyond this, they agree on very little.[3] Joseph dominates Matthew’s and Mary dominates Luke’s, although the suggestion that one derives from Joseph and the other from Mary is no more than a pious deduction.[4] Matthew implies that Joseph already has his home in Bethlehem, while Luke states that he lived in Nazareth.[3] In Matthew the angel speaks to Joseph, while Luke has one speaking to Mary.[4] Only Luke has the stories surrounding the birth of John the Baptist, the census of Quirinius, the adoration of the shepherds and the presentation in the Temple on the eighth day; only Matthew has the wise men, the star of Bethlehem, Herod’s plot, the massacre of the innocents, and the flight into Egypt.[4] The two itineraries are quite different. According to Matthew, the Holy Family begins in Bethlehem, moves to Egypt following the birth, and settles in Nazareth, while according to Luke they begin in Nazareth, journey to Bethlehem for the birth, and immediately return to Nazareth.[2][note 1] The two accounts cannot be harmonised into a single coherent narrative or traced to the same Q source, leading scholars to classify them as “special Matthew” (or simply the M source) and “special Luke” (the L source).[2]
Robin Hood is another example of a set of works that had many people contributing different stories into what became the present-day collection.
Historically, a lot of works had many authors using the same character. I think that it’s a bit unfortunate that modern copyright law tends to discourage that.
H. P. Lovecraft was unusual in that he allowed other authors to make use of his characters (and settings, which are also covered by copyright), which is why his world – with Cthulhu and all that – has been widely used.
The copyright owner is entitled to recover the actual damages suffered by him or her as a result of the infringement, and any profits of the infringer that are attributable to the infringement and are not taken into account in computing the actual damages. In establishing the infringer’s profits, the copyright owner is required to present proof only of the infringer’s gross revenue, and the infringer is required to prove his or her deductible expenses and the elements of profit attributable to factors other than the copyrighted work.
Second, some forms of fair use – which permit use of copyrighted material – do take into account whether someone was aiming to make money from it (though it’s not a “all noncommercial use is fair game” sort of thing):
Notwithstanding the provisions of sections 17 U.S.C. § 106 and 17 U.S.C. § 106A, the fair use of a copyrighted work, including such use by reproduction in copies or phonorecords or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright. In determining whether the use made of a work in any particular case is a fair use the factors to be considered shall include:
the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes;
I don’t really want to force a specific bottom limit on sound insulation, which is what that would do, though.
Some people won’t care as much as others relative to price and may not want to pay what it’d cost. And some people may want a much-quieter unit than any bottom limit would place.
The problem is that they can’t make an informed decision now because the information isn’t available.
I kind of wish that multi-unit housing came with sound isolation ratings. That’d create an incentive to have better isolation and help customers weigh the tradeoffs.
I mean, if there was a single internationally-popular movie or series that you could choose to take issue with as being “too American”, this doesn’t seem like it’d be the one I’d choose.
I don’t think that RSS is a reasonable alternative for social media at all. Different use case for me.
I mean, I’d use it if I had a selection of known sources that publish content regularly that I like enough of to see all the content and have a website. Only a few sources actually meet that bar for me. Then, RSS lets me put a common interface on all of them, combines a list of new content.
I use something like Reddit or the Fediverse to take advantage of people finding useful content elsewhere, which is kind of a different use case.
I mean, you’re on social media here, rather than just following an RSS feed, so presumably RSS doesn’t replace social media for you either.
What would you have changed from the movies as they were?
I mean, I can’t think of that many deviations from the books off-the-top-of-my-head. Tom Bombadil got cut, but he had a very different flavor from most of the rest of the series. Legolas “shield surfing” was an addition to the movies and was kind of obnoxious, IMHO, but it wasn’t that much of an ongoing thing. There were some changes around Aragorn going through the Paths of the Dead, but nothing there really bugged me.
EDIT: I’m pretty sure that nothing in the books said that the charge of the reinforcements at Helm’s Deep was down that steep of a slope – that’s probably just not practical.
Mine is that I can’t stand the Deadpool movies. They are self aware and self referential to an obnoxious degree.
I haven’t read the comic books that they’re based on for a long time, but as I recall, they also break the fourth wall. I don’t think that that was introduced specifically for the movie.
Marvel’s Deadpool is known for his over-the-top violence and crude and crass humor, but perhaps his best-known character trait is his penchant for repeatedly breaking the fourth wall. Deadpool talks to the audience in comics, films and videogames - but he didn’t always have this power. In fact, early Deadpool was known for being quite serious and firmly rooted in the fictional realm…so when did the Merc with a Mouth first break the fourth wall - and how did he insult editors everywhere by doing so?
Deadpool and the assassin with superhuman accuracy Bullseye teamed up in previous issues, and in Deadpool #28, the two are reunited after a long absence. “How long has it been!?” Bullseye exclaims. Deadpool simply states “Issue sixteen.” It’s the smallest of fourth-wall breaks (he hadn’t even began speaking to the readers yet), but it shows that Deadpool is doing more than acting out - he’s acting as his own editor. Considering convoluted comics continuity, it’s normal for editors to occasionally place footnotes in certain panels, specifically when characters reference past events. Perhaps Kelly and Woods considered the old method, but wanted to try a new technique. Whatever their reasoning, Deadpool’s fourth wall breaks became a staple of the character.
Looks like Deadpool #28dates to 1997, though, so Deadpool breaking the fourth wall has been around for over a quarter of a century.