It's the kind of high-risk story that depends on a very adroit control of tone to keep it from capsizing into tasteless silliness or kitschy solemnity, and Englander manages it beautifully, bringing its teemingly disparate elements (which include a child molester and a clan of displaced snapping turtles) together into a strangely moving finale.
Chariot is a high risk exploration story, but in the event of success we believe the upside would be very material.
In another blog post, by Facebook advertising executive Brian Boland in June 2014, he explained that for more intensive users, the risk of story overload is greater.
Adding to the risk, the story painted its subject with an overly broad brush and didn't include dissenting views from experts who aren't entrenched on one side or another of the subject.
What about the dangers of higher default risk (see story, p. 70)?
But not in the way you think: Metrograph is screening Living at Risk: The Story of a Nicaraguan Family (1985) and not her more famous film, Pictures at a Revolution (1991).
The interest generated by the BBC and Sunday Times prizes has seen publishers more willing to take a risk on stories.
By heading into the documentary postseason, Mr. Burns and Ms. Novick risk telling stories that are overly familiar to baseball fans without the benefit of decades of distance.
MASU MULLICK, co-manager of the Neuberger Berman Partners fund, says Kroger presents an interesting risk-reward story because of its $13.5 billion acquisition last May of Fred Meyer, a supermarket chain based in Portland, Ore., that nearly doubled Kroger's size.
That at least suggests that the risk-aversion story — and the idea that a huge chunk of the mortgages the banks own are going to turn out to be worthless — aren't completely crazy.
Or should they ignore them (and risk missing stories that move markets)?
