At root
- +In a paragraph
In a div
- +Tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, diff --git a/article_scraper/resources/tests/readability/engadget/expected.html b/article_scraper/resources/tests/readability/engadget/expected.html index b9b0c8e..ed29aa5 100644 --- a/article_scraper/resources/tests/readability/engadget/expected.html +++ b/article_scraper/resources/tests/readability/engadget/expected.html @@ -251,7 +251,7 @@ more widely supported, but it would have been nice to see Dolby's, too.
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And speaking of Dolby technology, Microsoft is also highlighting Atmos support on the One X, just like diff --git a/article_scraper/resources/tests/readability/msn/expected.html b/article_scraper/resources/tests/readability/msn/expected.html index 597e831..38ea173 100644 --- a/article_scraper/resources/tests/readability/msn/expected.html +++ b/article_scraper/resources/tests/readability/msn/expected.html @@ -16,7 +16,7 @@
The name and basic idea might sound like one of those endless score attack games like "Temple Run," but that's not the case. "Super Mario Run" is divided into hand-crafted levels with a clear end-point like any other Mario game, meaning you're essentially getting the Mario experience for $10 without needing to control his movement.
$10 might seem like a bit much compared to the $0 people pay for most mobile games, but it's possible the game has $10 worth of levels to play in it. It's also not iPhone exclusive, but the Android version will launch at a later, currently unknown date.
To see "Super Mario Run" in action, check out the footage below:
- + \ No newline at end of file diff --git a/article_scraper/resources/tests/readability/videos-1/expected.html b/article_scraper/resources/tests/readability/videos-1/expected.html index 1bd350e..0c6fd6f 100644 --- a/article_scraper/resources/tests/readability/videos-1/expected.html +++ b/article_scraper/resources/tests/readability/videos-1/expected.html @@ -12,7 +12,7 @@ 21) Star Wars: The Last JediI am as shocked as anyone that a Star Wars movie found its way onto my list — but I was bowled over by The Last Jedi, which may be one of the series’ best. In the hands of writer-director Rian Johnson (who will also oversee a new Star Wars trilogy), The Last Jedi is beautiful to look at and keeps its eye on the relationships between characters and how they communicate with one another, in addition to the bigger galactic story. The same characters are back, but they seem infused with new life, and the galaxy with a new kind of hope. The movie’s best details are in the strong bonds that develop between characters, and I left the film with the realization that for the first time in my life, I loved a Star Wars movie. Now I understand the magic. @@ -24,7 +24,7 @@ 20) Faces Places
The unusual documentary Faces Places (in French, Visages Villages) turns on the friendship between the accomplished street artist JR and legendary film director Agnès Varda, whose work was central to the development of the French New Wave movement. The pair (whose difference in age is 55 years) met after years of admiring each other’s work and decided to create a documentary portrait of France — by making a number of actual portraits. The film chronicles a leg of the "Inside Outside Project," a roving art initiative in which JR makes enormous portraits of people he meets and pastes them onto buildings and walls. In the film, Varda joins him, and as they talk to people around the country, they grow in their understanding of themselves and of each other. The development of their friendship, which is both affectionate and mutually sharpening, forms Faces Places’ emotional center. @@ -37,7 +37,7 @@ 19) Ingrid Goes West
Ingrid Goes West is a twisted and dark comedy — part addiction narrative, part stalker story — and yet it’s set in a world that’s almost pathologically cheery: the glossy, sunny, nourishing, superfood- and superlative-loving universe of Instagram celebrity. But despite Ingrid Goes West’s spot-on take on that world, the best thing about the film is that it refuses to traffic in lazy buzzwords and easy skewering, particularly at the expense of young women. Instead, the movie conveys that behind every Instagram image and meltdown is a real person, with real insecurities, real feelings, and real problems. And it recognizes that living a life performed in public can be its own kind of self-deluding prison. @@ -49,7 +49,7 @@ 18) Lady Macbeth
Lady Macbeth is no placid costume drama. Adapted from an 1865 Russian novella by Nikolai Leskov, the movie follows Katherine (the astounding Florence Pugh), a woman in the Lady Macbeth line characterized by a potent cocktail of very few scruples and a lot of determination. She's a chilling avatar for the ways that class and privilege — both obvious and hidden — insulate some people from the consequences of their actions while damning others. Lady Macbeth is also a dazzling directorial debut from William Oldroyd, a thrilling combination of sex, murder, intrigue, and power plays. It’s visually stunning, each frame composed so carefully and deliberately that the wildness and danger roiling just below the surface feels even more frightening. Each scene ratchets up the tension to an explosive, chilling end. @@ -61,7 +61,7 @@ 17) BPM (Beats Per Minute)
BPM (Beats Per Minute) is a remarkably tender and stirring story of the Paris chapter of ACT UP, an AIDS activism group, and the young people who found themselves caught in the crosshairs of the AIDS crisis in the early 1990s. The film follows both the group's actions and the individual members’ shifting relationships to one another — enemies becoming friends, friends becoming lovers, lovers becoming caretakers — as well as their struggles with the disease wracking their community. As an account of the period, it’s riveting; as an exploration of life and love set at the urgent intersection of the political and the personal, it’s devastating. @@ -73,7 +73,7 @@ 16) The Big Sick
Few 2017 movies could top the charm and tenderness of The Big Sick, which hits all the right romantic comedy notes with one unusual distinction: It feels like real life. That’s probably because The Big Sick is written by real-life married couple Emily V. Gordon and Silicon Valley's Kumail Nanjiani, and based on their real-life romance. The Big Sick — which stars Nanjiani as a version of himself, alongside Zoe Kazan as Emily — is funny and sweet while not backing away from matters that romantic comedies don’t usually touch on, like serious illness, struggles in long-term marriages, and religion. As it tells the couple’s story, which takes a serious turn when Emily falls ill with a mysterious infection and her parents (played by Holly Hunter and Ray Romano) come to town, it becomes a funny and wise story about real love. @@ -85,7 +85,7 @@ 15) Mother!
There’s so much pulsing beneath the surface of Mother! that it’s hard to grab on to just one theme as what it “means.” It’s full-on apocalyptic fiction, and like all stories of apocalypse, it’s intended to draw back the veil on reality and show us what’s really beneath. And this movie gets wild: If its gleeful cracking apart of traditional theologies doesn’t get you (there’s a lot of Catholic folk imagery here, complete with an Ash Wednesday-like mud smearing on the foreheads of the faithful), its bonkers scenes of chaos probably will. Mother! is a movie designed to provoke fury, ecstasy, madness, catharsis, and more than a little awe. Watching it, and then participating in the flurry of arguments and discussions unpacking it, was among my best moviegoing experiences of 2017. @@ -97,7 +97,7 @@ 14) A Ghost Story
Director David Lowery filmed A Ghost Story in secret, then premiered it at the Sundance Film Festival to critical acclaim. The movie starts out being about a grieving widow (Rooney Mara) trying to live through the pain of losing her beloved husband, but it soon shifts focus to the ghost of her husband (Casey Affleck, covered in a sheet), evolving into a compelling rumination on the nature of time, memory, history, and the universe. Bathed in warm humor and wistful longing, it's a film that stays with you long after it’s over, a lingering reminder of the inextricable link between love and place. @@ -109,7 +109,7 @@ 13) The Square
Dunkirk, a true cinematic achievement from acclaimed director Christopher Nolan, backs off conventional notions of narrative and chronology as much as possible, while leaning headfirst into everything else that makes a movie a visceral work of art aimed at the senses: the images, the sounds, the scale, the swelling vibrations of it all. You can’t smell the sea spray, but your brain may trick you into thinking you can. Nolan’s camera pushes the edges of the screen as far as it can as Dunkirk engulfs the audience in something that feels like a lot more than a war movie. It’s a symphony for the brave and broken, and it resolves in a major key — but one with an undercurrent of sorrow, and of sober warning. Courage in the face of danger is not just for characters in movies. @@ -133,7 +133,7 @@ 11) Rat Film
Rat Film is about rats, yes — and rat poison experts and rat hunters and people who keep rats as pets. But it’s also about the history of eugenics, dubious science, “redlining,” and segregated housing in Baltimore. All these pieces come together to form one big essay, where the meaning of each vignette only becomes clearer in light of the whole. It’s a fast-paced, no-holds-barred exploration of a damning history, and it accrues meaning as the images, sounds, and text pile up. @@ -145,7 +145,7 @@ 10) A Quiet Passion
A Quiet Passion is technically a biographical film about Emily Dickinson, but it transcends its genre to become something more like poetry. It’s a perplexing and challenging film, crafted without the traditional guardrails that guide most biographical movies — dates, times, major accomplishments, and so on. Time slips away in the film almost imperceptibly, and the narrative arc doesn’t yield easily to the viewer. Cynthia Nixon plays Emily Dickinson, whose poetry and life is a perfect match for the signature style of director Terence Davies: rich in detail, deeply enigmatic, and weighed down with a kind of sparkling, joy-tinged sorrow. A Quiet Passion is a portrait, both visual and narrative, of the kind of saint most modern people can understand: one who is certain of her uncertainty, and yearning to walk the path on which her passion and longing meet. @@ -157,7 +157,7 @@ 9) Columbus
Columbus is a stunner of a debut from video essayist turned director Kogonada. Haley Lu Richardson stars as Casey, a young woman living in Columbus, Indiana, who cares for her mother, works at a library, and harbors a passion for architecture. (Columbus is a mecca for modernist architecture scholars and enthusiasts.) When a visiting architecture scholar falls into a coma in Columbus, his estranged son Jin (John Cho) arrives to wait for him and strikes up a friendship with Casey, who starts to show him her favorite buildings. The two begin to unlock something in each other that’s hard to define but life-changing for both. Columbus is beautiful and subtle, letting us feel how the places we build and the people we let near us move and mold us. @@ -169,7 +169,7 @@ 8) The Florida Project
Sean Baker’s The Florida Project unfolds at first like a series of sketches about the characters who live in a purple-painted, $35-a-night motel called the Magic Castle down the street from Disney World. The film is held together by the hysterical antics of a kid named Moonee and her pack of young friends, as well as long-suffering hotel manager Bobby (a splendid, warm Willem Dafoe), who tries to put up with it all while keeping some kind of order. But as The Florida Project goes on, a narrative starts to form, one that chronicles with heartbreaking attention the sort of dilemmas that face poor parents and their children in America, and the broken systems that try to cope with impossible situations. @@ -181,7 +181,7 @@ 7) Call Me by Your Name
Luca Guadagnino’s gorgeous film Call Me by Your Name adapts André Aciman’s 2007 novel about a precocious 17-year-old named Elio (Timothée Chalamet), who falls in lust and love with his father’s 24-year-old graduate student Oliver (Armie Hammer). It’s remarkable for how it turns literature into pure cinema, all emotion and image and heady sensation. Set in 1983 in Northern Italy, Call Me by Your Name is less about coming out than coming of age, but it also captures a particular sort of love that’s equal parts passion and torment, a kind of irrational heart fire that opens a gate into something longer-lasting. The film is a lush, heady experience for the body, but it’s also an arousal for the soul. @@ -193,7 +193,7 @@ 6) Personal Shopper
In her second collaboration with French director Olivier Assayas, Kristen Stewart plays a personal shopper to a wealthy socialite, with a sideline as an amateur ghost hunter who’s searching for her dead twin brother. Personal Shopper is deeper than it seems at first blush, a meditation on grief and an exploration of “between” places — on the fringes of wealth, and in the space between life and death. Some souls are linked in a way that can’t be shaken, and whether or not there’s an afterlife doesn’t change the fact that we see and sense them everywhere. (Personal Shopper also has one of the most tense extended scenes involving text messaging ever seen onscreen.) @@ -205,7 +205,7 @@ 5) Princess Cyd
Stephen Cone is a master of small, carefully realized filmmaking; his earlier films such as The Wise Kids and Henry Gamble’s Birthday Party combine an unusual level of empathy for his characters with an unusual combination of interests: love, desire, sexual awakenings, and religion. Princess Cyd is his most accomplished film yet, about a young woman named Cyd (Jessie Pinnick) who finds herself attracted to Katie (Malic White), a barista, while visiting her Aunt Miranda (Rebecca Spence, playing a character modeled on the author Marilynne Robinson) in Chicago. As she works through her own sexual awakening with Katie, Cyd unwinds some of the ways Miranda’s life has gotten too safe. They provoke each other while forming a bond and being prodded toward a bigger understanding of the world. It is a graceful and honest film, and it feels like a modest miracle. @@ -217,7 +217,7 @@ 4) Get Out
Racism is sinister, frightening, and deadly. But Get Out (a stunning directorial debut from Key & Peele's Jordan Peele) isn’t about the blatantly, obviously scary kind of racism — burning crosses and lynchings and snarling hate. Instead, it’s interested in showing how the parts of racism that try to be aggressively unscary are just as horrifying, and it’s interested in making us feel that horror in a visceral, bodily way. In the tradition of the best classic social thrillers, Get Out takes a topic that is often approached cerebrally — casual racism — and turns it into something you feel in your tummy. And it does it with a wicked sense of humor. @@ -229,7 +229,7 @@ 3) The Work
The Work is an outstanding, astonishing accomplishment and a viewing experience that will leave you shaken (but in a good way). At Folsom Prison in California, incarcerated men regularly participate in group therapy, and each year other men from the “outside” apply to participate in an intense four-day period of group therapy alongside Folsom’s inmates. The Work spends almost all of its time inside the room where that therapy happens, observing the strong, visceral, and sometimes violent emotions the men feel as they expose the hurt and raw nerves that have shaped how they encounter the world. Watching is not always easy, but by letting us peek in, the film invites viewers to become part of the experience — as if we, too, are being asked to let go. @@ -241,7 +241,7 @@ 2) Ex Libris
Frederick Wiseman is one of the towering giants of nonfiction film, a keen observer of American institutions — ranging from prisons to dance companies to welfare offices — for the past half-century. Ex Libris is his mesmerizing look at the New York Public Library and the many functions it fills, which go far beyond housing books. Wiseman works in the observational mode, which means his films contain no captions, dates, or talking-head interviews: We just see what his camera captured, which in this case includes community meetings, benefit dinners, after-school programs, readings with authors and scholars (including Richard Dawkins and Ta-Nehisi Coates), and NYPL patrons going about their business in the library’s branches all over the city. The result is almost hypnotic and, perhaps surprisingly, deeply moving. It makes a case for having faith in the public institutions where ordinary people work — away from the limelight, without trying to score political points — in order to make our communities truly better. @@ -253,7 +253,7 @@ 1) Lady Bird
Lady Bird topped my list almost instantly, and only rose in my estimation on repeated viewings. For many who saw it (including me), it felt like a movie made not just for but about me. Lady Bird is a masterful, exquisite coming-of-age comedy starring the great Saoirse Ronan as Christine — or “Lady Bird,” as she’s re-christened herself — and it’s as funny, smart, and filled with yearning as its heroine. Writer-director Greta Gerwig made the film as an act of love, not just toward her hometown of Sacramento but also toward girlhood, and toward the feeling of always being on the outside of wherever real life is happening. Lady Bird is the rare movie that manages to be affectionate, entertaining, hilarious, witty, and confident. And one line from it struck me as the guiding principle of many of the year’s best films: “Don’t you think they are the same thing? Love, and attention?” diff --git a/article_scraper/resources/tests/readability/videos-2/expected.html b/article_scraper/resources/tests/readability/videos-2/expected.html index f5f2c68..abdf514 100644 --- a/article_scraper/resources/tests/readability/videos-2/expected.html +++ b/article_scraper/resources/tests/readability/videos-2/expected.html @@ -9,7 +9,7 @@ Vape Wave (documentaire, 1h28, Planète+)
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Pendant quelques jours, le doute a plané : l’Etat comptait-il vraiment légiférer contre la cigarette dans les films français, que ce soit via une interdiction pure et simple ou via un système de «punition» (coupe des aides CNC, par exemple) pour les longs-métrages qui sentent le mégot ? Si le rétropédalage de la ministre Buzyn n’en est pas vraiment un (elle n’avait jamais clairement menacé le septième art), la polémique a le mérite de pointer la (sur)représentation clopesque sur écran. Et si, comme c’est le cas dans la vie quotidienne, on voyait progressivement les cigarettes électroniques remplacer les tiges nicotinées authentiques ? Que ceux qui mettraient en doute le potentiel cinématographique des vapoteuses se ruent sur Vape Wave, documentaire militant signé Jan Kounen, ex-fumeur reconverti à la vape dont les images magnifient les volutes de vapeur recrachée. @@ -24,7 +24,7 @@ Dans la tête d’Alan Moore (websérie documentaire, 8x5min, Arte Creative)
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Le week-end dernier, Libération publiait un portrait de der consacré à l’auteur britannique Alan Moore, connu pour ses BD cultes (V pour Vendetta, Watchmen, From Hell), à l’occasion de la sortie de son deuxième roman, le pavé Jérusalem. En attendant l’imminente sortie d’une version longue de son entretien avec Libé, on pourra se replonger dans les épisodes d’une websérie documentaire d’Arte Creative en 8 épisodes consacré au maître. Brexit, magie, Anonymous font partie des sujets discutés avec le maître au fil de ce programme sobrement intitulé Dans la tête d’Alan Moore. (A.H.) @@ -36,7 +36,7 @@ The Death and Life of Marsha P. Johnson (docu, 1h45, Netflix)
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Marsha, la «Rosa Parks du mouvement LGBTQ». Marsha «la prostituée, l’actrice et la sainte, modèle d’Andy Warhol» ou encore Marsha l’élaborée, la radicale, «avec ses plumes et ce maquillage qu’elle ne mettait jamais bien». «Queen Marsha» a été retrouvée morte dans l’Hudson en juillet 1992, alors qu’on la voyait encore parader dans les rues de Greenwich Village quelques jours auparavant. Un choc glaçant. Là où son corps a été repêché puis ingratement déposé, les sans-abri ont constitué le lendemain un mémorial de bouteilles et de plantes qui délimitent les contours de l’absente. @@ -66,7 +66,7 @@ Jim & Andy (documentaire, 1h33, Netflix)
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A la sortie de Man on the Moon (2000), le magnifique film de Milos Forman consacré à Andy Kaufman – comique et génie de la performance absurde mort en 1984 –, le cinéaste et les acteurs insistaient dans chaque interview sur l’incroyable comportement de Jim Carrey pendant le tournage : il aurait été comme possédé par Kaufman, se prenant pour lui 24 heures sur 24. Certains affirmaient même ne jamais avoir eu l’impression que l’acteur était présent, tant son modèle avait littéralement pris sa place. Nous en avons aujourd’hui la preuve en images car tout cela avait été filmé par Bob Zmuda et Lynne Margulies, l’ancien complice et la veuve de Kaufman. @@ -81,7 +81,7 @@ Braguino (documentaire, 50min, Arte)
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La querelle peut se trouver derrière toutes les portes, y compris celle de l’exil. On a beau croire avoir tourné le dos à tout, à cette inclination humaine à nourrir sa propre haine, l’allergie peut regermer fissa sur une peau qui frissonne à l’approche de ce voisin que l’on ne comprend pas. Issu d’une lignée de vieux-croyants orthodoxes russes, Sacha Braguine a pris sa famille sous le bras, loin de toute autre présence humaine en taïga sibérienne. Un autre groupe, les Kiline, a décidé d’en faire de même et de s’installer de l’autre côté de la rivière. Qui est arrivé en premier ? Qui menace l’autre ? L’histoire de l’impossible communauté peut commencer. @@ -96,7 +96,7 @@ 6 Days (film, 1h34, Netflix)
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Fin avril 1980, l’ambassade d’Iran à Londres a été le théâtre d’une prise d’otages largement médiatisée : une trentaine de personnes ont ainsi été retenues pendant six jours par des soldats iraniens dissidents exigeant la libération de 91 prisonniers. Avec Margaret Thatcher au 10 Downing Street à l’époque, pas question pour l’Angleterre d’avoir l’air mou du genou sur la réponse à apporter à cette crise scrutée par les caméras du monde entier. Le SAS (Special Air Service) est sur le coup : l’opération Nimrod se met en place pour prendre d’assaut l’ambassade. diff --git a/article_scraper/resources/tests/readability/yahoo-1/expected.html b/article_scraper/resources/tests/readability/yahoo-1/expected.html index b5d5602..a2f2954 100644 --- a/article_scraper/resources/tests/readability/yahoo-1/expected.html +++ b/article_scraper/resources/tests/readability/yahoo-1/expected.html @@ -11,28 +11,28 @@
Virtual reality has officially reached the consoles. And it’s pretty good! Sony’s PlayStation VR is extremely comfortable and reasonably priced, and while it’s lacking killer apps, it’s loaded with lots of interesting ones.
But which ones should you buy? I’ve played just about every launch game, and while some are worth your time, others you might want to skip. To help you decide what’s what, I’ve put together this list of the eight PSVR games worth considering.
Beloved cult hit “Rez” gets the VR treatment to help launch the PSVR, and the results are terrific. It includes a fully remastered take on the original “Rez” – you zoom through a Matrix-like computer system, shooting down enemies to the steady beat of thumping electronica – but the VR setting makes it incredibly immersive. It gets better the more you play it, too; unlock the amazing Area X mode and you’ll find yourself flying, shooting and bobbing your head to some of the trippiest visuals yet seen in VR.
What would happen if Tron, the board game Simon, a Clown beetle, Cthulhu and a noise band met in VR? Chaos, for sure, and also “Thumper.” Called a “violent rhythm game” by its creators, “Thumper” is, well, a violent rhythm game that’s also a gorgeous, unsettling and totally captivating assault on the senses. With simple controls and a straightforward premise – click the X button and the analog stick in time with the music as you barrel down a neon highway — it’s one of the rare games that works equally well both in and out of VR. But since you have PSVR, play it there. It’s marvelous.
Cheeky horror game “Until Dawn” was a breakout hit for the PS4 last year, channeling the classic “dumb teens in the woods” horror trope into an effective interactive drama. Well, forget all that if you fire up “Rush of Blood,” because this one sticks you front and center on a rollercoaster ride from Hell. Literally. You ride through a dimly-lit carnival of terror, dual-wielding pistols as you take down targets, hideous pig monsters and, naturally, maniac clowns. Be warned: If the bad guys don’t get you, the jump scares will.
Soccer meets “Portal” in the weird (and weirdly fun) “Headmaster,” a game about heading soccer balls into nets, targets and a variety of other things while stuck in some diabolical training facility. While at first it seems a little basic, increasingly challenging shots and a consistently entertaining narrative keep it from running off the pitch. Funny, ridiculous and as easy as literally moving your head back and forth, it’s a pleasant PSVR surprise.
Giant mechs + sports? That’s the gist of this robotic blast-a-thon, which pits two teams of three against one another in gorgeous, explosive and downright fun VR combat. At its best, “RIGS” marries the thrill of fast-paced competitive shooters with the insanity of piloting a giant mech in VR. It can, however, be one of the barfier PSVR games. So pack your Dramamine, you’re going to have to ease yourself into this one.
“I’m Batman,” you will say. And you’ll actually be right this time, because you are Batman in this detective yarn, and you know this because you actually grab the famous cowl and mask, stick it on your head, and stare into the mirrored reflection of Rocksteady Games’ impressive Dark Knight character model. It lacks the action of its fellow “Arkham” games and runs disappointingly short, but it’s a high-quality experience that really shows off how powerfully immersive VR can be.
There are a number of good VR ports in the PSVR launch lineup, but the HTC Vive launch game “Job Simulator” might be the best. Your task? Lots of tasks, actually, from cooking food to fixing cars to working in an office, all for robots, because did I mention you were in the future? Infinitely charming and surprisingly challenging, it’s a great showpiece for VR.
Already a hit on the Oculus Rift, this space dogfighting game was one of the first to really show off how VR can turn a traditional game experience into something special. It’s pricey and not quite as hi-res as the Rift version, but “Eve Valkyrie” does an admirable job filling the void left since “Battlestar Galactica” ended. Too bad there aren’t any Cylons in it (or are there?)
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