I don’t watch Strictly Come Dancing, the BBC’s hit reality dance show. I have seen an episode or two in the past, usually at family dinners when one or both of my grandmothers insisted we watch it. But despite my general lack of interest, I was delighted to see that Alexandra and Gorka, and Debbie and Giovanni had made it through to the final of series 15, just as Susan Connolly said they would.
The Toronto International Film Festival (TIFF) is a prestigious event and a hot-spot for finding some of Hollywood’s biggest stars. Apparently, it’s also home to 47 000 ghosts. Shortly after premiering at the 2016 TIFF, a film titled The Promise received over 50 000 negative reviews on the Internet Movie Database (IMDb). Given the fact that less than 3000 people had actually watched the film at TIFF, who (or what) generated these additional 47 000 reviews?
This design essay is about the creation of two graphics for the October issue of Significance. You can read the original article and get lost in giant versions of both graphics here.
It may not be immediately obvious, but the image to the left represents part of the 2001 hit single, “Can’t get you out of my head”, by the Australian singer Kylie Minogue. If you know the song and its lyrics, you might be able to figure out what you are seeing. If you don’t, we’ll explain.
In our October 2017 issue, RJ Andrews and Howard Wainer imagine a collaboration between two data-storytellers of the past, W. E. B. Du Bois and C. J. Minard. The result of this gedanken-collaboration is a series of maps charting the relocation of African-Americans from the southern United States in the century after their emancipation from slavery.
