The Federal Bureau of Investigation's once classified documents on some of America’s greatest writers seemed to blur the lines of free speech, creativity, and apparent subversive behavior. Here are tidbits from the files on 10 literary giants.
1. ERNEST HEMINGWAY
Ernest Hemingway traveling with American soldier in 1944.
It wasn’t money or terminal cancer that drove the Nobel Prize winner to kill himself with a double-barreled shotgun, at least according to his friends. Many of them say that it was the FBI that made him paranoid. Hemingway was admitted to the Mayo Clinic in Minnesota in 1960 for growing mental and physical illness. He died that summer. “The Clinic had suggested that Mr. Hemingway register under the alias George Sevier,” a January 13, 1961 letter to FBI Director J. Edgar Hoover said. “Mr. Hemingway is now worried about his registering under an assumed name, and is concerned about an FBI investigation.”
2. JOHN STEINBECK
John Steinbeck captured in 1930.
The award-winning Grapes of Wrath writer didn’t have time for Hoover’s spy games. He wrote to the U.S. Attorney General Francis Biddle in 1942, “Do you suppose you could ask Edgar’s boys to stop stepping on my heels? They think I am an enemy alien. It is getting tiresome.” Hoover quickly learned about Steinbeck’s request, and wrote back, “I wish to advise that Steinbeck is not being and has never been investigated by this Bureau.” Needless to say, FBI agents continued investigating, even tracking his finances through 1964.
3. W.E.B. DUBOIS
W.E.B. DuBois photographed in 1918.
The brilliant Souls of Black Folks author, scholar, and sociologist fell on the FBI’s radar in 1942, when a letter sent to the Bureau claimed DuBois vowed the Negroes’ helping hand when the Japanese got ready to take over the U.S. Then, about eight years later, the FBI received the following letter about the Atlanta University (now Clark Atlanta University) professor. “I’m a strong believer in free speech, but the enclosed clippings from the New York Times reports a speech that seems to me to be subversive to a degree that makes my blood boil,” the unidentified citizen wrote to FBI Director J. Edgar Hoover on October 6, 1950.
What exactly made that citizen’s blood so hot? “Of all nations today,” the then 80-year-old DuBois said in a speech in Harlem, New York, “the United States alone wants war, forces other nations to fight, and asks you and me to impoverish ourselves, give up health and schools, sacrifice our sons to a Jim-Crow army, and commit suicide for a world war that nobody wants but the rich Americans who profit by it?"
4. WILLIAM T. VOLLMANN
An American novelist, essayist, and war correspondent, the 56-year-old Vollman discovered the hundreds of pages of his FBI file a few years ago. In them, he was listed as a Unabomber suspect: “S-2047 William T. Vollman. Predicated on a referral from a citizen. Investigation has determined that Vollman, a professional author, is widely travelled, however, existing travel records for him do not eliminate him as a viable suspect.”
5. JAMES BALDWIN
James Baldwin cheerfully posed at his home in Southern France in 1979.
For 16 years, federal agents dug into the Notes of a Native Son writer’s activities—everything from his sexual and political affairs to his literary writings. In a newspaper collected by the FBI, a reporter said Baldwin had been “crusading for the immediate extension of equal rights to all, warning of the possibility of more radical clashes.”
6. LANGSTON HUGHES
A 1960 portrait captured Langston Hughes laughing.
Not only was the Harlem Renaissance poet flagged as a Communist, but the FBI also painted him as the anti-Christ. Hughes’ poem, “Goodbye Christ,” caught the Bureau’s attention in 1941. Although written in 1932, it was relatively obscure until it appeared in the Saturday Evening Post on December 21, 1940, and read:
"Listen, Christ
You did alright in your day, I reckon-
But that day’s gone now,
They ghosted you up a swell story, too,
Called it Bible-
But it’s dead now."
It didn’t take long before Hoover started receiving letters about Hughes’ alleged subversiveness.
7. TRUMAN CAPOTE
In 1966, Truman Capote relaxed in Milan.
The FBI went after the American novelist known for Breakfast at Tiffany’s, because of alleged ties to the Cuban Revolution. They scrutinized his association with The Fair Play for Cuba Committee, a support group for the Cuban Revolution against U.S. government attacks (whiich would become famous for its association with Lee Harvey Oswald). But the author claims the government started tracking him because he spread rumors about Hoover’s supposed homosexual relationship. “It got Hoover upset, that much I know,” Capote said. “And it got me … about 200 pages in an FBI file.”
8. RAY BRADBURY
Ray Bradbury took the stage at the 12th Annual LA Times Festival of Books in Los Angeles in 2007.
The Fahrenheit 451 author supposedly had plans to travel to Cuba, which was illegal in 1968. So the FBI tracked him down. Their investigation didn’t last long, however, because agents soon learned Bradbury didn't actually have intentions of visiting the country. “Informants and sources, who are familiar with Cuban activities, were unable to furnish any information which would indicate travel to Cuba,” the report said.
9. DOROTHY PARKER
Dorothy Parker dined out in 1937.
American poet Parker received harsh treatment from the FBI. In the 1930s, according to The New York Times, an “'anonymous outside source’ advised that she had contributed to the ‘Communist movement.’” For the next 25 years, government surveillance kept tabs on her address changes and activities, including when she assisted in founding the Hollywood Anti-Nazi League in 1936. The FBI suspected the group of being a Communist front.
10. LORRAINE HANSBERRY
Her critically-acclaimed play A Raisin in the Sun caught Hoover’s eye, spurring a lengthy surveillance into her work. “This play contains no comments of any nature about Communism as such,” a ghostreader wrote in a review, “but deals essentially with negro [sic] aspirations, the problems inherent in their efforts to advance themselves, and varied attempts at arriving at solutions.”
If you're prone to picturing your favorite Christmas characters as stop-motion puppets, you can thank Rankin/Bass. The production company founded by Arthur Rankin Jr. and Jules Bass found success in transforming holiday songs and myths into fully-developed television specials in the 1960s, '70s, and '80s. Their most popular specials, like Rudolph the Red-Nosed Reindeer and Frosty the Snowman, are still staples of holiday programming decades after they first aired.
But not every holiday film that played under the Rankin/Bass banner was an instant success. After adapting the most beloved Christmas stories, the company broadened its definition of holiday material, with varying degrees of success. Some films were forgettable, and others were so strange and unsettling that young viewers forced themselves to forget. Here are some Rankin/Bass specials that may be missing from holiday television marathons this year.
1. Rudolph’s Shiny New Year (1976)
Rankin/Bass Productions
After the stressful events of his 1964 Christmas special, Rudolph deserved a vacation. In Rudolph's Shiny New Year(1976), the red-nosed reindeer barely has a day to rest before being sent on his next adventure. When Santa Claus and his reindeer return home to the North Pole after delivering presents on Christmas, they learn that Happy the Baby New Year is missing. It’s up to Rudolph to bring him home before midnight on New Year’s Eve or else the calendar will be stuck at December 31. And because it wouldn’t be a Rankin/Bass cartoon without a terrifying villain, a vulture named Eon the Terrible is racing to catch Happy first so he can live forever. Thankfully, Rudolph has a caveman, a Medieval knight, and Benjamin Franklin on his side.
2. The Little Drummer Boy, Book II (1976)
Rankin/Bass Productions
The Little Drummer Boy from 1968 ends with the birth of Jesus Christ, a.k.a. the events of Christmas. This meant that Rankin/Bass’s most overtly religious Christmas special wasn’t an obvious choice for a follow-up, but the studio still released one in 1976. The Little Drummer Boy, Book II is inspired by "Silver Bells"—a song whose lyrics have nothing to do with the first Christmas at Bethlehem. In the sequel, the drummer boy Aaron and the wise man Melchior join forces to protect silver bells made for baby Jesus from the Roman soldiers plotting to steal them.
3. Nestor, the Long-Eared Christmas Donkey (1977)
Rankin/Bass Productions
By the late 1970s, it was apparent that Rankin/Bass was running out of Christmas myths to expand into television specials. Nestor, the Long-Eared Christmas Donkey, their 1977 stop motion film, tells the story of an outcast donkey who experiences a series of traumatic events during the Roman Empire. After being bullied by other animals, left for dead by his owner, and suffering the loss of his mother, Nestor becomes a hero by carrying a pregnant Mary to Bethlehem, where she gives birth to Jesus. Needless to say, Nestor, the Long-Eared Donkey didn’t have the same cultural impact as Rudolph the Red-Nosed Reindeer.
4. The First Christmas: The Story of the First Christmas Snow (1975)
Rankin/Bass Productions
It may have a happy ending, but The First Christmas (1975) is the bleakest movie on this list. An orphaned shepherd named Lucas is taken in by a group of nuns after he’s blinded by lightning. When snow falls during the abbey’s Christmas pageant, Lucas miraculously regains his eyesight and sees snow for the first time. The story swaps Rankin/Bass's signature humor and fantasy for heavy-handed sentimentality, which may be why it didn’t land as well with kids as the company’s other holiday specials. One highlight is a voice performance by Angela Lansbury as the narrator.
5. Jack Frost (1979)
Rankin/Bass Productions
So this film from 1979 is technically a Groundhog Day special, but its connection to winter means it’s usually lumped in with the rest of Rankin/Bass’s Christmas programming. A groundhog named Pardon-Me-Pete (voiced by Buddy Hackett) narrates the story of Jack Frost. After Jack Frost falls in love with a woman on Earth, Father Winter agrees to make him human, with the catch that Jack will turn back into a sprite if he fails to obtain a house, a horse, a bag of gold, and a wife by the first sign of spring. The special is notable for its weird characters, including a villain with a clockwork horse and henchmen. And—spoiler alert!—because Jack doesn’t get the girl at the end, it’s one of the few Rankin/Bass films that doesn’t have a happy ending.
6. Rudolph and Frosty's Christmas in July (1979)
Rankin/Bass Productions
In 1979, Rankin/Bass gave two of its most iconic Christmas characters—Frosty the Snowman and Rudolph the Red-Nosed Reindeer—their own movie. The studio was so confident in the product that Rudolph and Frosty's Christmas in July even had a brief theatrical release overseas. But the film has failed to take the place of the original specials in the public consciousness—maybe because seeing snow snakes terrorize Rudolph and watching an evil wizard transform into a tree were too much for younger viewers to handle.
7. Pinocchio's Christmas (1980)
Rankin/Bass Productions
The story of Pinocchio may not be the first thing that comes to mind when you think of Christmas, but that didn’t stop Rankin/Bass from turning the classic Italian fairytale into a holiday special. Pinocchio's Christmas (1980) features many of the same themes and characters as The Adventures of Pinocchio—only this version of the tale centers around the puppet’s first Christmas. Santa Claus even makes a cameo appearance.
8. The Stingiest Man in Town (1978)
Rankin/Bass Productions
Charles Dickens’s A Christmas Carol is one of the most widely adapted stories of all time, so of course it shows up in Rankin/Bass’s filmography. An insect named B.A.H. Humbug narrates this musical retelling from 1978, with Walter Matthau starring as Ebeneezer Scrooge. The Stingiest Man in Town joins Frosty the Snowman as one of the few Rankin/Bass Christmas productions made with traditional 2D animation instead of stop-motion.
9. The Leprechauns' Christmas Gold (1981)
Rankin/Bass Productions
Rankin/Bass’s streak of mashing up Christmas with other holidays reached peak weirdness in 1981. That’s when the studio released The Leprechauns' Christmas Gold—a story that follows a young Irish sailor who helps a clan of leprechauns protect their gold from an evil banshee named Old Mag the Hag. By trying to create a special that could air around Christmas and St. Patrick’s Day, the filmmakers ended up with something that made little sense at any time of year.
10. The Life and Adventures of Santa Claus (1985)
Rankin/Bass Productions
In 1970, Rankin/Bass explored how Kris Kringle became Santa Claus with Santa Claus Is Comin’ to Town. Fifteen years later, the studio produced a film that provided an alternate origin story for the character, based on L. Frank Baum's 1902 children's book of the same name. This second special wasn’t as well-received as the first. It starts with an antler-sporting sorcerer called the Great Ak finding an abandoned baby in the forest. The child is taken in and raised by wood nymphs, eventually growing up to become a jolly man who delivers toys to children—all while fighting monsters called Awgwas on the side. It ends with a council of mythical beings granting Santa Claus immortality. What was arguably Rankin/Bass’s most unusual Christmas special was also the last to use stop-motion animation.
Though it’s officially classified as a romantic comedy, Love Actually—Richard Curtis’s intertwining tale of love and loss in London in the midst of the Christmas season—has become a staple of holiday movie marathons everywhere. Here are 25 things you might not have known about the hit 2003 film.
1. Love Actually‘s airport footage was shot with hidden cameras.
Footage of passengers being welcomed and embraced by loved ones at Heathrow Airport was shot on location with hidden cameras for a week. In the film’s DVD commentary, writer-director Richard Curtis explains that when something special was caught on camera, a crew member would race out to have its subjects sign a waiver so the moment might be included in Love Actually. This was a fitting production device, as Curtis claims that watching the love expressed at the arrival gate of LAX is what inspired him to write the ensemble romance in the first place.
2. Four plot lines were cut from Love Actually.
Curtis initially aimed to include 14 love stories in the film. Two were clipped in the scripting phase, but two were shot and cut in post. Those lost before production involved a girl with a wheelchair, and one about a boy who records a love song for a classmate who ultimately hooks up with his drummer. Shot but cut for time was a brief aside featuring anAfrican couple supporting each other during a famine, and another storyline that followed home a schoolheadmistress, revealing her long-time commitment to her lesbian partner.
3. A fifth of Love Actually is commonly cut from television broadcasts.
Universal Studios
It might be of little surprise that the raciest element of this holiday movie rarely makes it on TV. The love story of John and Judy has Martin Freeman and Joanna Page playing a pair of stand-ins on an erotic drama. Their scenes have the pair mimicking sex acts, but even as simulations of simulated sex, their storyline is usually deemed too hot for TV.
4. Martine McCutcheon’s role in Love Actually was penned just for her.
Curtis wrote his screenplay with some stars in mind, including Hugh Grant, Emma Thompson, and McCutcheon, the charismatic English ingénue best known for her role on BBC drama EastEnders. So sure was Curtis that he wanted McCutcheon for the role of the love interest to the Prime Minister that he had the character’s name as "Martine" in early drafts. Curtis explained in the DVD commentary that the name was changed to "Natalie" before McCutcheon’s audition, "so she wouldn’t get cocky."
5. Richard Curtis sent request letters to his American talent.
Laura Linney, Billy Bob Thornton, and Denise Richards received letters asking them to consider a role in the film. Both actresses were impressed by the unconventional move, but Linney told The Daily Beast she was even more flattered by its contents.
"I got a letter in the mail from Richard Curtis saying that he’d been trying to cast this part, and he’d kept saying to his partner, Emma Freud, that he’d been looking for a ‘Laura Linney-type,’ and she said, ‘Why don’t you ask Laura Linney?’"
6. Bill Nighy didn’t realize he had auditioned for Love Actually.
Peter Mountain, Universal Pictures
This was the first collaboration between Nighy and Curtis, with the former playing the shameless, comeback-seeking rocker Billy Mack. On the film’s 10-year anniversary, Nighy recalled to The Daily Beast, "I did a rehearsal reading of the script as a favor to the great casting director, Mary Selway, who had been trying to get me into a film for a long time. I thought it was simply to help her hear the script aloud and to my genuine surprise I was given the job."
7. Love Actually‘s actors had their own trailer park village during production.
"We didn’t all film together, but we had a big trailer park for all the cast," Nighy told The Guardian. "There were so many famous people in there, we used to talk about being on Liam Neeson Way or Emma Thompson Road or Hugh Grant Avenue. And it was a masterpiece of diplomacy, too; we all had the same size and type of trailer." Linney remembered the place having a warm sense of community.
8. One scene from Love Actually was lifted directly from Four Weddings And A Funeral.
In Four Weddings and a Funeral, also penned by Curtis, there was a scene where Hugh Grant’s character Charles flirts with a woman at a wedding by mocking the terrible catering, only to discover that she is the caterer. The scene was cut from the 1994 film, but was reshot nearly a decade later with Kris Marshall acting out the flirtatious faux pas. In the commentary track, Curtis admits that some drafts of the Love Actually script still had Charles’s name on portions of the scene.
9. The late Joanna was played by a real-life Richard Curtis crush.
In the commentary, Curtis also confessed his affection and admiration for writer-director Rebecca Frayn and how it led to a heartbreaking scene in Love Actually. She’s uncredited in the film because she never has a scene to perform. But when Curtis needed images to create a slideshow of Sam’s beloved mum/Daniel’s departed wife, he turned to Frayn, asking for "all the prettiest pictures of her from her whole life." In real-life, Frayn is married to Oscar-nominated Scottish producer Andy Harries.
10. Emma Thompson shot her crying scene 12 times.
Arguably the saddest moment in Love Actually is when Thompson’s character realizes her husband has been unfaithful. In the privacy of their bedroom, she listens to Joni Mitchell’s "Both Sides Now" and weeps.
"We decided to do it like how Mike Newell did it in Four Weddings—I shot in medium-wide, and didn’t move the camera," Curtis recalled. "We just let it happen, and Emma walked into the room 12 times in a row and sobbed. It was an amazing feat of acting." He also noted this was the only scene she was asked to perform that day.
11. Hugh Grant did not want to dance.
Though Grant and Curtis had worked together on Notting Hill, Bridget Jones’s Diary, and Four Weddings and a Funeral, they had a deep disagreement on how the Prime Minister should be played. Grant wanted it to be a grounded performance and resented Curtis’s push to make the part more whimsical. This came to a head when shooting Grant’s dance number, which the actor refused to rehearse.
"He kept on putting it off, and he didn’t like the song—it was originally a Jackson 5 song, but we couldn’t get it—so he was hugely unhappy about it," Curtis explained. "We didn’t shoot it until the final day and it went so well that when we edited it, it had gone too well, and he was singing along with the words!" It was a tricky thing to cut, but the final result with Girls Aloud’s cover of “Jump (For My Love)” speaks for itself.
12. Tony Blair found it impossible to live up to Hugh Grant’s fictional prime minister.
In 2005, when facing criticism for his dealings with the United States, then-Prime Minister Tony Blair responded by saying, "I know there’s a bit of us that would like me to do a Hugh Grant in Love Actually and tell America where to get off. But the difference between a good film and real life is that in real life there’s the next day, the next year, the next lifetime to contemplate the ruinous consequences of easy applause."
13. It took 45 minutes to pick out Aurelia’s underwear.
When the loose pages of Jamie’s (Colin Firth) in-progress novel blow into a nearby lake, Aurelia (Lúcia Moniz) is quick to strip down and dive in to rescue them. But in the DVD commentary, Curtis admits that what she wore beneath her cozy sweater was a major matter of debate that involved a lengthy meeting with his producers and 20 different sets of bras and panties to be considered.
14. Simon Pegg auditioned for Love Actually.
Before he broke out with 2004’s Shaun of the Dead, Simon Pegg was best known for his work on the British sitcom Spaced. It was in this stage of his career that he was eyed for the role of Rufus, the jewelry salesman in Love Actually. However, Curtis ended up casting Rowan Atkinson, who was not only a bigger star but a longtime friend from their college days; the two had previously worked together on Four Weddings and A Funeral, Mr. Bean, and Black Adder.
15. Rowan Atkinson’s character was meant to be an angel.
Rather than just an overenthusiastic gift wrapper with a good Samaritan streak at the airport, Atkinson’s Rufus was initially written as a heavenly helper in disguise. A scene was even shot were he’d evaporate after helping Sam get past security at Heathrow. "But in the end," Curtis said in commentary, "the film turned out so sort of multiplicitous that the idea of introducing an extra layer of supernatural beings was (too much)."
16. Sarah’s apartment is based on Helen Fielding’s.
When Sarah (Laura Linney) takes her office crush Karl (Rodrigo Santoro) back to her flat, a crane shot reveals that her bedroom is perched above the first floor, with a half-wall serving as a sort of balcony. In the DVD commentary track, Curtis mentioned this layout was poached from the Bridget Jones’s Diary author’s home. To him, it seemed a charming staging place for this tender seduction scene.
17. Test audiences spurred a change to the ending of Sarah’s story.
Curtis originally intended for Sarah and Karl’s love story to fizzle out after the phone call from her brother. However, when Love Actually was screened to test audiences, the feedback begged for a clearer resolution. So Curtis provided it, creating an extra scene in reshoots that made it unmistakable that Sarah and Karl would not end up together. "Be careful what you wish for," he warned on the DVD commentary.
18. Andrew Lincoln hand-wrote those romantic signs.
Peter Mountain, Universal Pictures
In 2013, The Walking Dead star reminisced about his climactic gesture in Love Actually with Entertainment Weekly, and revealed, "It is my handwriting! It’s funny, because the art department did it, and then I said, ‘Well, can I do it?’ because I like to think that my handwriting is really good. Actually, it ended up with me having to sort of trace over the art department’s, so it is my handwriting, but with a sort of pencil stencil underneath."
19. The American bar scene included some improv.
Peter Mountain, Universal Studios
Regarding the scene where three American girls (Elisha Cuthbert, January Jones, and Ivana Milicevic) flirt with Kris Marshall, Cuthbert told VH1, "It was such a creative space and we were allowed to improvise and try different things and it wasn’t just completely set into Richard’s writing. I mean we were allowed to sort of venture … It was nice that we got to sort of play around.”
Curtis remembers it differently, noting in the commentary track that the Brits were "respectful" with his script, but these Americans wanted to "pep it up a bit."
20. Bernard is a running joke based on a real man.
Every film Curtis writes contains a "Bernard," and he’s always the butt of a joke. In Love Actually, he’s the son of Thompson’s character who is described as "horrid." This all dates back to a love triangle that didn’t turn in Curtis’s favor. Bernard was the name of a young man who won the heart of Curtis’s crush Anne, and so he will forever be lampooned. In real life, Bernard is a successful politician, namely Bernard Jenkin, Member of Parliament for Harwich and North Essex since 2010.
21. Olivia Olson’s performance of “All I Want for Christmas Is You” was too good—which was problematic.
Over 200 girls auditioned for the part of Joanna, the talent show star that young Sam (Thomas Brodie-Sangster) falls hard for. But with pipes that blew away the casting director, Olivia Olson blew the competition away. In the commentary track, Curtis notes that Olson sang the song "All I Want For Christmas Is You" so flawlessly that he feared it sounded manufactured. He had sound editors cut in breaths to the performance to make it more believable.
22. Sam and Joanna reunited in 2008.
Child stars Thomas Brodie-Sangster and Olivia Olson were utterly adorable together as drum-playing Sam and his grade school crush Joanna. But Love Actually wasn’t the end of the pair’s onscreen romance. They were reunited in 2008 when Olson joined the voice cast of the Disney Channel cartoon show Phineas and Ferb. While Brodie-Sangster lends his voice to the oft-silent Ferb, Olson often sings as Ferb’s crush, the sleek and cool Vanessa Doofenshmirtz.
23. The movie has already been remade—three times!
The central concept of a movie packed with stars and intertwining love stories has been translated into a trio of films. The first is the Indian offering A Tribute To Love, an unofficial remake in the Hindi language. Next, Poland took a turn with Letters to St. Nicolas. The most recent version is Japan’s It All Began When I Met You, which borrows the concept as well as the film’s poster layout.
24. Love Actually got a sequel (of sorts) in 2017.
In March 2017, in celebration of Red Nose Day, Curtis and several members of the original cast—including Grant, Knightley, Firth, Neeson, Nighy, Lincoln, and Atkinson—reprised their characters for a short film, Red Nose Day Actually, that caught viewers up on what the characters are doing today.
"I would never have dreamt of writing a sequel to Love Actually, but I thought it might be fun to do 10 minutes to see what everyone is now up to," Curtis said when the project was announced. "Who has aged best?—I guess that’s the big question ... or is it so obviously Liam?" The short debuted in the U.K. on March 24, 2017, but American audiences had to wait until May 25, 2017 to see what happened to their favorite characters. (Here’s a cheat sheet.)
25. Alan Rickman’s death prevented Emma Thompson from appearing in the sequel.
Universal Pictures Home Entertainment
When it was announced that Curtis would be revisiting some of the Love Actually characters for a short sequel, he knew right away that out of respect for Alan Rickman—who passed away in early 2016—he did not want to revisit Emma Thompson’s character.
"Richard wrote to me and said, ‘Darling we can’t write anything for you because of Alan,’ and I said, ‘No of course, it would be sad, too sad,’" Thompson explained. "It’s too soon. It’s absolutely right because it’s supposed to be for Comic Relief, but there isn’t much comic relief in the loss of our dear friend really only just over a year ago."
But the 2003 film wasn’t the end of the story for Thompson and Rickman’s characters. In 2015, Curtis’s longtime partner Emma Freud live tweeted some details of what happened to the couple after the credits rolled. The short version? "They stay together but home isn’t as happy as it once was," according to Freud.
