Something that the Spectacular Realities text highlighted for me was the importance of “boulevard culture” in 19th-century Paris (15). Through the work of Haussmann, the city of Paris changed structurally and socially. By literally opening up the streets to create boulevards, Haussmann cultivated a space for Parisians to socialize and collaborate like never before which was an essential characteristic of the innovations to come. The bustling boulevards became a symbol of “modern Paris” and became the setting of spectacle (17). Not only were the actual streets a spectacle in and of themselves, but the boulevards opened up the opportunity to create a spectacle. This is indicated in the way the streets became lined with cafes, posters, and eventually morgues, wax museums, and cinema theatres.
       The influence of boulevard culture is reflected in the way, the audiences of spectacles in the 19th century were a mix of social classes. Just as a bourgeois woman may walk past a peasant on the boulevard, a diverse group would take in the spectacles of Paris together. This is due fact that post spectacles had no barrier to entry and every Parisian could enjoy the various forms of entertainment. The inclusivity of spectacles is most likely a consequence of “post-Hassumann ‘democratization’ and commercialization of space” (19). All Parisians were able to enjoy the spectacle on the boulevards thanks to Haussmann so it only made sense to extend that to more structured entertainment such as the morgue and wax museums. The free admissions to spectacles also communicates how important this aspect of Parisian life really was — the fact that it was made available to everyone suggests that to live in Paris meant to be an active audience member.
       Overall, Haussmanization is the foundation of spectacle. Spectacular Realities makes this clear as it is the first topic discussed, suggesting subsequent chapters built off of this characteristic of Parisian modern life. This aspect is something that I have not particularly focused on in the class and am glad that this text was able to draw my attention to boulevard culture and its direct influence on spectacles.

Questions that came up after reading the text:

• Did the various spectacles discussed in Spectacular Realities ever serve as a distraction for Parisians and steer their attention away from political issues going on at the time? Is there a specific example of this? 
• Thinking about the participation of the spectator: How is the viewing experience of cinema different from panorama, wax museum, and the morgue? How is it similar? 
• Who made the wax figures? Were the creators well-known? Why wasn’t the creation of wax figures seen as an art form? 
• Why were Parisians always chasing the most life-like spectacle? Why is a realistic simulation attractive? In what ways are people still chasing after this today?