TeacherTmack

Sounds like the cruise lines problem. Sounds like you’ve been forced to stay over past your contract? Although idk since you're entertainment, and not primary function. But, since they failed to provide you adequate ability to disembark. You should be getting over time on top of normal hours. I’m sure it’d be a lawyer battle that would cost you lots of money, but damn how can they not pay you will being (ultimately) responsible for you not being able to reenter.

Why aren’t you getting paid?

Through what lenses are we supposed to view the inmates? I have seen almost all of the show, and notice myself skipping to the next one with about 10 minutes left. Very enthralling intros and interviews, especially when inmates see and comment on new interviews themselves, but I am not sure If I am supposed to see these people subjectively, or empathetically. I think we mostly get one side, for obvious reasons.

What sources did you use when writing about you inciting incident, and Asia in general? I wish there was a series exploring the universe you set up throughout your book. I talk about it with my students as a nice example of conjoined plot lines. " I have been listening to The Stand by S. King recently, and the idea of reformation after a wide-spread crises is an interesting concept to explore. How will individuals interact initially, and long-term, after a mass life-ending event? One of my favorite aspects of WWZ (SPOILER!) is how humans develop a weapon and strategy to take back the country. Your disaster wasn't as all-encompassing as The Walking Dead, nor was it as localized as 28 Days Later. I wonder what circumstances can predict to events like these. Writing in a way that audience see as practical seem to be more horrifying than gratuitous, as in The Walking Dead vs. 28 Days Later. WWZ Pt. 2, please!

Teacher teacher/director here: what are the trends you’ve seen throughout each fan base? Like how Dear Evan Hanson probably has lots of 13 year olds.