Problem: Background: All About Eve is a 1950 American drama film written and directed by Joseph L. Mankiewicz, and produced by Darryl F. Zanuck. It was based on the 1946 short story "The Wisdom of Eve" by Mary Orr, although screen credit was not given for it. The film stars Bette Davis as Margo Channing, a highly regarded but aging Broadway star. Anne Baxter plays Eve Harrington, an ambitious young fan who insinuates herself into Channing's life, ultimately threatening Channing's career and her personal relationships.
Context: The story of All About Eve originated in an anecdote related to Mary Orr by actress Elisabeth Bergner. While performing in The Two Mrs. Carrolls during 1943 and 1944, Bergner allowed a young fan, Martina Lawrence, to become part of her household and employed her as an assistant, but later regretted her generosity when the woman attempted to undermine her. Referring to her only as "the terrible girl," Bergner related the events to Orr, who used it as the basis for her short story "The Wisdom of Eve" (1946). In the story, Orr gives the girl a more ruthless character and allows her to succeed in stealing the older actress' career. Bergner later confirmed the basis of the story in her autobiography Bewundert viel, und viel gescholten (Greatly Admired and Greatly Scolded).  In 1949, Mankiewicz was considering a story about an aging actress and, upon reading "The Wisdom of Eve," felt the conniving girl would be a useful added element. He sent a memo to Darryl F. Zanuck saying it "fits in with an original idea [of mine] and can be combined. Superb starring role for Susan Hayward." Mankiewicz presented a film treatment of the combined stories under the title Best Performance. He changed the main character's name from Margola Cranston to Margo Channing and retained several of Orr's characters -- Eve Harrington, Lloyd and Karen Richards, and Miss Casswell -- while removing Margo Channing's husband completely and replacing him with a new character, Bill Sampson. The intention was to depict Channing in a new relationship and allow Eve Harrington to threaten both Channing's professional and personal lives. Mankiewicz also added the characters Addison DeWitt, Birdie Coonan, Max Fabian, and Phoebe.  Zanuck was enthusiastic and provided numerous suggestions for improving the screenplay. In some sections, he felt Mankiewicz's writing lacked subtlety or provided excessive detail. He suggested diluting Birdie Coonan's jealousy of Eve so the audience would not recognize Eve as a villain until much later in the story. Zanuck reduced the screenplay by about 50 pages and chose the title All About Eve from the opening scenes in which Addison DeWitt says he will soon tell "more of Eve ... All about Eve, in fact."
Question: did it need to be rewritten?
Answer: Zanuck reduced the screenplay by about 50 pages

Problem: Background: Anquetil was the son of a builder in Mont-Saint-Aignan, in the hills above Rouen in Normandy, north-west France. He lived there with his parents, Ernest and Marie, and his brother Philippe and then at Boisguillaume in a two-storey house, "one of those houses with exposed beams that tourists think are pretty but those who live there find uncomfortable." In 1941, his father refused contracts to work on military installations for the German occupiers and his work dried up. Other members of the family worked in strawberry farming and Anquetil's father followed them, moving to the hamlet of Bourguet, near Quincampoix.
Context: Anquetil unfailingly beat Raymond Poulidor in the Tour de France and yet Poulidor remained the more popular. Divisions between their fans became marked, which two sociologists studying the impact of the Tour on French society say became emblematic of France old and new.  The extent of those divisions is shown in a story, perhaps apocryphal, told by Pierre Chany, who was close to Anquetil:  The Tour de France has the major fault of dividing the country, right down to the smallest hamlet, even families, into two rival camps. I know a man who grabbed his wife and held her on the grill of a heated stove, seated and with her skirts held up, for favouring Jacques Anquetil when he preferred Raymond Poulidor. The following year, the woman became a Poulidor-iste. But it was too late. The husband had switched his allegiance to Gimondi. The last I heard they were digging in their heels and the neighbours were complaining.  Jean-Luc Boeuf and Yves Leonard, in their study, wrote:  Those who recognised themselves in Jacques Anquetil liked his priority of style and elegance in the way he rode. Behind this fluidity and the appearance of ease was the image of France winning and those who took risks identified with him. Humble people saw themselves in Raymond Poulidor, whose face - lined with effort - represented the life they led on land they worked without rest or respite. His declarations, full of good sense, delighted the crowds: a race, even a difficult one, lasts less time than a day bringing in the harvest. A big part of the public therefore finished by identifying with the one who symbolised bad luck and the eternal position of runner-up, an image that was far from true for Poulidor, whose record was particularly rich. Even today, the expression of the eternal second and of a Poulidor Complex is associated with a hard life, as an article by Jacques Marseille showed in Le Figaro when it was headlined "This country is suffering from a Poulidor Complex".
Question: Are there any other interesting aspects about this article?
Answer:
Anquetil unfailingly beat Raymond Poulidor in the Tour de France and yet Poulidor remained the more popular. Divisions between their fans