You stir dry vermouth and gin with ice then poured into a chilled cocktail glass. The amount of vermouth has gone through two distinct stages of reduction. The first was the increasing quality of the ingredients, so you didn’t need to bury the bathtub aspects of the gin. The second is the decreasing quality of some drinkers, who think that forgetting one ingredient of a two ingredient cocktail is somehow sophisticated. There are people right now with “Left” and “Right” written on their shoes, and even when they get that wrong they’re still doing better than the people who call a glass of gin a martini because they’ve at least remembered both of the relevant items.
There’s a lot of really exciting stuff happening in the gin world right now, and I love that gins are becoming more expressive and flavorful. Companies are playing with flavors such as peaches, lemongrass, sage, and douglas fir, and the results are amazing. The new diverse range of flavors in these different gins welcome new flavor combinations and innovative cocktails! All of these gins are so gorgeous, they don’t need much dressing up, a simple martini with a complimentary garnish will do the trick!
From our friends at crime-fiction blog The Rap Sheet, two posts.
The estate asks us to distinguish between “flat” and “round” fictional characters, potentially a sharper distinction than the other one it urges (as we noted at the beginning of this opinion), which is between simple and complex. Repeatedly at the oral argument the estate’s lawyer dramatized the concept of a “round” character by describing large circles with his arms. And the additional details about Holmes and Watson in the ten late stories do indeed make for a more “rounded,” in the sense of a fuller, portrayal of these characters. In much the same way we learn things about Sir John Falstaff in Henry IV, Part 2, in Henry V (though he doesn’t actually appear in that play but is merely discussed in it), and in The Merry Wives of Windsor, that were not remarked in his first appearance, in Henry IV, Part 1. Notice also that Henry V, in which Falstaff is reported as dying, precedes The Merry Wives, in which he is very much alive. Likewise the ten last Sherlock Holmes stories all are set before 1914, which was the last year in which the other stories were set. One of the ten, The Adventure of the Veiled Lodger (published in 1927), is set in 1896. See 2 William S. Baring-Gould, The Annotated Sherlock Holmes 453 (1967). Thus a more rounded Holmes or Watson (or Falstaff) is found in a later work depicting a younger person. We don’t see how that can justify extending the expired copyright on the flatter character. A contemporary example is the six Star Wars movies: Episodes IV, V, and VI were produced before I, II, and III. The Doyle estate would presumably argue that the copyrights on the characters as portrayed in IV, V, and VI will not expire until the copyrights on I, II, and III expire.
The estate defines “flat” characters oddly, as ones completely and finally described in the first works in which they appear. Flat characters thus don’t evolve. Round characters do; Holmes and Watson, the estate argues, were not fully rounded off until the last story written by Doyle. What this has to do with copyright law eludes us. There are the early Holmes and Watson stories, and the late ones, and features of Holmes and Watson are depicted in the late stories that are not found in the early ones (though as we noted in the preceding paragraph some of those features are retrofitted to the earlier depictions). Only in the late stories for example do we learn that Holmes’s attitude toward dogs has changed—he has grown to like them—and that Watson has been married twice. These additional features, being (we may assume) “original” in the generous sense that the word bears in copyright law, are protected by the unexpired copyrights on the late stories. But Klinger wants just to copy the Holmes and the Watson of the early stores, the stories no longer under copyright. The Doyle estate tells us that “no workable standard exists to protect the Ten Stories’ incremental character development apart from protecting the completed characters.” But that would be true only if the early and the late Holmes, and the early and the late Watson, were indistinguishable—and in that case there would be no incremental originality to justify copyright protection of the “rounded” characters (more precisely the features that makes them “rounder,” as distinct from the features they share with their earlier embodiments) in the later works.
One doesn’t normally get Holmes, Watson, Star Wars and Falstaff in federal courts of appeals opinions (especially within five hundred words of one another).