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Sir Horace Curzon Plunkett (24 October 1854 - 26 March 1932), was an Anglo-Irish agricultural reformer, pioneer of agricultural cooperatives, Unionist MP, supporter of Home Rule, Irish Senator and author. Plunkett, a younger son of the Baron of Dunsany, was a member of the Congested Districts Board for Ireland for over 27 years, founder of the Recess Committee and the Irish Agricultural Organisation Society (IAOS), Vice-President (operational head) of the Department of Agriculture and Technical Instruction (DATI) for Ireland (predecessor to the Department of Agriculture) from October 1899 to May 1907, MP for South Dublin in the House of Commons of the United Kingdom from 1892 to 1900, and Chairman of the Irish Convention of 1917-18. An adherent of Home Rule, in 1919 he founded the Irish Dominion League, still aiming to keep Ireland united, and in 1922 he became a member of the first formation of Seanad Eireann, the upper chamber in the Parliament of the new Irish Free State.
Public opinion, initially lukewarm, grew hostile in some sectors as the cooperative movement developed, and shopkeepers, butter-buyers and sections of the press led a campaign of virulent opposition. Cooperatives and Plunkett were denounced for supposedly ruining the dairy industry but the movement caught hold, with the mass of farmers benefitting. Plunkett and his colleagues including the poet and painter George William Russell (AE) made a good working team, writing widely on economic and cultural development, and on the role of labour. As early as 1894, when his campaign reached a size too big to be directed by a few individuals, Plunkett founded the Irish Agricultural Organisation Society (IAOS), with Lord Monteagle, Thomas A. Finlay and others. Robert A Anderson acted as secretary, with AE and PJ Hannon his assistants. IAOS soon became the powerhouse of co-operation, with 33 affiliated dairy cooperative societies and cooperative banks, introducing co-operation among Irish farmers by proving the benefits obtainable through more economical and efficient management. The following year he and Russell began publishing its journal The Irish Homestead to spread information on farming. Four years later there were 243 affiliated societies. Within a decade 800 societies were in existence, with a trade turnover of three million pounds sterling (over 300 million sterling in today's money, and the turnover of the resulting companies is in excess of a billion euro). Plunkett's task was frustrating. He was a pioneer of the concept of systematic rural development, who, in spite of his role in Irish affairs being often overlooked, influenced many international reformers, and can be credited as one of the few who had a long-term vision for the development of rural Ireland. He was apt to remind audiences that, even if full peasant proprietorship was achieved and Home Rule was implemented, rural underdevelopment would still have to be faced. But class conflict between farmers and shopkeepers intervened to frustrate much of what he aimed to do.

how was this beneficial?

introducing co-operation among Irish farmers by proving the benefits obtainable through more economical and efficient management.

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Kevin Sydney is a fictional character appearing in American comic books published by Marvel Comics. The Changeling has been depicted as a member of the X-Men. Created by writer Roy Thomas and artist Werner Roth, the character first appeared in The X-Men #35 (August 1967). Kevin Sydney first appeared as Changeling, a mutant shapeshifter.
Kevin Sydney is a mutant metamorph with the ability to alter his physical appearance and voice at will to resemble that of any person he chooses. His power could also transform the appearance of his costume as well, which was made of unstable molecules. Morph's mutation to shape-shift has also made it so that his body is a Play-doh-like substance and he can reattach limbs after they have been severed. He has limited telepathic abilities, which (in the original timeline) were enhanced by Professor X. As a side effect, he also gained limited telekinetic abilities. Upon choosing to work together and share his body with the energy mutant Proteus, Morph's powers appear to be amplified, at least enough to defeat a self-proclaimed god. Whether the two have access to Proteus' reality changing abilities has yet to be determined. He has also stated that his mutation gives him a high metabolism and makes him very hormonal. In Exiles #33 Sasquatch said she was never able to detect a scent on Morph and Sabretooth stated that while hunting Proteus in Morph's body, Morph stands out like a sore thumb in a crowd of "normal" people to Sabretooth's senses regardless of his form. It also appears he has the ability to fly as demonstrated in Exiles #27. Due to his shapeshifting ability he does not wear any actual clothing, and he takes joy in pointing this out. Kevin Sydney is a skilled actor, and a highly trained and efficient organizer of subversive activities. He carried various advanced weaponry of alien Siri design belonging to Factor Three, including a ray gun carried in a holster at his side. Though Morph is a prankster who downplays his intelligence, he is deceptively smart. He has a Master's degree in computer engineering, which he earned at Xavier's Institute.

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Morph's mutation to shape-shift has also made it so that his body is a Play-doh-like substance and he can reattach limbs after they have been severed.

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Carousel is the second musical by the team of Richard Rodgers (music) and Oscar Hammerstein II (book and lyrics). The 1945 work was adapted from Ferenc Molnar's 1909 play Liliom, transplanting its Budapest setting to the Maine coastline. The story revolves around carousel barker Billy Bigelow, whose romance with millworker Julie Jordan comes at the price of both their jobs. He participates in a robbery to provide for Julie and their unborn child; after it goes tragically wrong, he is given a chance to make things right.
A film version of the musical was made in 1956, starring Gordon MacRae and Shirley Jones. It follows the musical's story fairly closely, although a prologue, set in the Starkeeper's heaven, was added. The film was released only a few months after the release of the film version of Oklahoma!. It garnered some good reviews, and the soundtrack recording was a best seller. As the same stars appeared in both pictures, however, the two films were often compared, generally to the disadvantage of Carousel. Thomas Hischak, in The Rodgers and Hammerstein Encyclopedia, later wondered "if the smaller number of Carousel stage revivals is the product of this often-lumbering [film] musical". There was also an abridged (100 minute) 1967 network television version that starred Robert Goulet, with choreography by Edward Villella. The New York Philharmonic presented a staged concert version of the musical from February 28 to March 2, 2013, at Avery Fisher Hall. Kelli O'Hara played Julie, with Nathan Gunn as Billy, Stephanie Blythe as Nettie, Jessie Mueller as Carrie, Jason Danieley as Enoch, Shuler Hensley as Jigger, John Cullum as the Starkeeper, and Kate Burton as Mrs. Mullin. Tiler Peck danced the role of Louise to choreography by Warren Carlyle. The production was directed by John Rando. Charles Isherwood of The New York Times wrote, "this is as gorgeously sung a production of this sublime 1945 Broadway musical as you are ever likely to hear." It was broadcast as part of the PBS Live from Lincoln Center series, premiering on April 26, 2013.

how was the film received?
It garnered some good reviews,