You Who Came FromThe Star and The Heirs (继承者们) have been subjects of hot online discussions throughout Asia. Besides, the book, The Miraculous Journey of Edward Tulane, read by the hero You Who Came From The Star was a hard to get item on Amazon for a while.

    The two TV programs have several common elements (因素): a tall, handsome, and rich hero who loves the heroine blindly and always protects her, and an equally handsome man madly in love with the same woman . Both programs describe the purity of love, which is expressed through a kiss or a warm hug. Perhaps that's the secret of their success: perhapspeople still like Cinderella type stories.

    The widening wealth gap is a matter of social concern both in South Korea and China, and the challenges that young people face in their hope for a better life might have caused many ordinary girls to dream of marrying rich, caring men. This is precisely what the popular South Korean TV drams describe. In fact,South Korean TV dramas are tailored to meet the market's demands.

    Many netizens evensaid at an earlier time that South Korean TV dramas had become popular because of their stereotyped (模式化的) themes: traffic accidents, cancer and other incurable diseases. But all that has changed with the success of You Who CameFrom The Star and The Heirs, which Chinese directors can use as examples, aswell as inspiration, to improve their productions.

The National Gallery

Description：

    The National Gallery is the British national art museum built on the north side of Trafalgar Square in London. It houses a diverse collection of more than 2,300 examples of European art ranging from 13th-century religious paintings to more modern ones by Renoir and Van Gogh. The older collections of the gallery are reached through the main entrance while the more modern works in the East Wing are most easily reached from Trafalgar Square by a ground floor entrance.

Layout：

    The modern Sainsbury Wing on the western side of the building houses 13th- to 15th-century paintings, and artists include Duccio, Uccello, Van Eyck, Lippi, Mantegna, Botticelli and Memling．

    The main West Wing houses 16th-century paintings, and artists include Leonardo da Vinci, Cranach, Michelangelo, Raphael, Bruegel, Bronzino, Titan and Veronese.

    The North Wing houses 17th-century paintings, and artists include Caravaggio, Rubens, Poussin, Van Dyck, Velazquez, Claude and Vermeer．

    The East Wing houses 18th- to early 20th-century paintings, and artists include Canaletto, Goya, Turner, Constable, Renoir and Van Gogh.

Opening Hours：

    The Gallery is open every day from 10 am. to 6 pm. (Fridays 10 am. to 9 pm.) and is free, but charges apply to some special exhibitions.

Getting There：

    Nearest underground stations: Charing Cross (2-minute walk), Leicester Square (3-minute walk), Embankment (7-minute walk), and Piccadilly Circus (8-minute walk).

    Author Norman Mailer published an essay in which he declared the graffiti(涂鸦) of the New York subway to be "The Great Art of the 70s". But what happened to the artists and why is there no subway graffiti any more?

    "It started with someone just writing their name — someone saw that, and added on to it," recalls New York graffiti artist Nicer, born Hector Nazario. "Letters going in front of letters, coming back through a letter, behind a letter, going across a letter... the subways became our playground," adds Riff170.

    New York in 1974 was a city in crisis. The Mayor, Abe Beame, slashed the city's budget in a bid to stave off bankruptcy(破产), which meant laying off school teachers, police officers and subway staff.

    "They were taking the money from the schools, there was a lot of corruption here, in this community, and so they took the after-school programmes away, and there was no outlets for this. So the outlet became our city," says Bronx-born designer Eric Orr.

    "It was like an explosion. The graffiti explosion. All of a sudden it took over the whole city. I don't know what happened, but overnight in the early 70s it was from no graffiti to all graffiti," says another former artist, Flint Gennari.

    Eric Felisbret, author and former graffiti artist, says graffiti culture was in a way a product of the civil rights movement. "It was never political," he says, "but many people were brought up with that, and to express yourself by breaking the law became a natural process for them."

    The graffiti pioneers came from all races, however. "There were writers that were African American, Latino - Puerto Rico, Dominican, Cuban - Jewish, Asian, and it became one unit — one family," says another graffiti pioneer, Roberto Gualtieri.

    Prof Gregory Snyder, sociologist and author of Graffiti Lives, says: "For lots of people, graffiti is ugly, vandalistic, and I'm not denying that. It's vandalism... now, oftentimes it's very clever vandalism. It can be written on a dumpster, like a garbage bin, and if someone's attempting to make a garbage bin look a little prettier maybe that's not the worst thing in the world." Although Mailer was not alone in welcoming the flowering of creativity, the authorities hated it, as did many passengers.

    So when Mayor Ed Koch took office, he was determined to clean up the city and set about targeting graffiti.

    "I remember in 1982 he brought everyone out to a train yard and there was a single train painted white," says former New York Daily News reporter Salvatore Arena. Trains were taken out of service and cleaned as soon as graffiti was spotted. Carriages were protected at night and the city agreed to ban the sale of spray cans.

    If in 1984 80% of subway carriages contained graffiti by May 1989 the network was graffiti-free. “Graffiti has gone through an evolution, and it will continue to evolve. It's now socially accepted in places where 20-30 years ago that would have been impossible. It's now showcased(展示) in certain museums —and let's say in another 30 years from now it may be hanging in the White House,” says Nicer.

    Nowadays painted graffiti is largely gone from the New York subway trains themselves and is seen instead on the walls and tunnels of the city. It has been replaced by scratchiti(刮擦艺术) created onto carriage windows using keys, knives. Unlike the vivid images of 40 years ago, these ghostly patterns are somehow easy to ignore. After all, graffiti has faded quietly into the background.

    Edmund Halley was an English scientist who lived over 200 years ago. He studied the observations of comets(彗星) which other scientists had made. The orbit of one particular comet was a very difficult mathematical problem. He could not figure it out. Neither could other scientists who dealt with such problems.

    However, Halley had a friend named Isaac Newton, who was a brilliant mathematician. Newton thought he had already worked out that problem, but he could not find the papers on which he had done it. He told Halley that the orbit of a comet had the shape of an ellipse.

    Now Halley set to work. He figured out the orbits of some of the comets that had been observed by scientists. He made a surprising discovery. The comets that had appeared in the years 1531, 1607 and 1682 all had the same orbit. Yet their appearances had been 75 to 76 years apart.

    This seemed very strange to Halley. Three different comets followed the same orbit. The more Halley thought about, the more he thought that there had not been three different comets, as people thought. He decided that they had simply seen the same comet three times. The comet had gone away and had come back again.

    It was an astonishing idea! Halley felt certain enough to make a prediction of what would happen in the future. He decided that this comet would appear in the year 1758. There were 53 years to go before Halley's prediction could be tested.

    In 1758 the comet appeared in the sky. Halley did not see it, for he had died some years before. Ever since then that comet had been called Halley's comet, in his honour.

    Moments before I could lift my case to put it in the plane's overhead locker ahead of our recent holiday to Europe, my father gently urged me to stop. He held the thick handles of the case and lifted it with his thin arms, pushing it into place with a sigh. “You should relax and be the lady, and let me do the heavy tasks,” he said seriously. “In the future, someone special will come into your life and take over such tasks from me, but that will never happen if you do everything yourself.”

    I was stunned into silence. This was not the father I remembered from childhood, who trained me to study hard at school, asked me to earn my own pocket money as a teenager at a local coffee shop, and even taught me household chores so that my life alone in London wouldn't turn into a mess. But then, eight years after I left home and started a new life in the UK, I realized for the first time that my dad still has expectations for me to be like a princess and to stay dependent and delicate, which were considered necessary qualities of women in traditional China.

    Well, that came a little late. Little did Dad know that over the three years of my university life, I moved flats five times all by myself, dragging suitcases of books and clothes, and waiting for the taxi in the rain while holding tight onto cardboard boxes. Meanwhile, living in the UK – a country currently led by a female prime minister – I have never thought there is anything girls cannot do. Most of my female friends are professionals working in the City of London, and after work, we frequently go down to the pub for a drink, just like the guys do – something my mother never did.

    I wondered how I might make Dad understand the new world his little girl has entered. Perhaps one day, he will realize the “someone special” in my life will appreciate my confidence and independence above dependence, and admit that times have changed.

Magical History Tour

    Join us for our fifth annual exploration of fascinating historic sites around Greater Portland that you've never seen or maybe didn't even know existed! The Magical History Tour is your key to unlocking fascinating historical places that are not usually open to the public. It is a self­guided adventure guaranteed to amaze and amuse both adults and children. Equipped with a map, and at your own pace, you will be greeted by guides at each location ready to share the history of the tour stop.

    In the 5th year of the Magical History Tour, we will be presenting an exciting mix of both new sites and favorites from the past four years.

    The Magical History Tour check in begins at 9: 45 am at Maine Historical Society's Brown Library. At this time, you will find out where the tour will take you as you receive your map and ticket into each site.

    Follow us on Facebook, Twitter, and Instagram for updates, chances to win tickets and some other exciting opportunities; and feel free to share your tour experiences to our social media pages using # MHStour!

    ●Time: 10: 00 am—4: 00 pm, Saturday, May 11, 2019

    ●Location: 485 Congress Street

    ●Tickets: Get your tickets online, by calling us at 207­774­1 822, or by visiting our Museum Store at 489 Congress Street. $25／Adult  MHS  Member; $35／Adult General Admission; $5／Juniors under age 18.

    ●Volunteering: We need volunteers for the Magical History Tour! Volunteers help for half the day of the tour and are given a free ticket to the tour to enjoy either before or after their volunteer shift!

    For more information, email us at events@mainehistory org or call us at 207­774­1822.