Second Bests: Filmmakers who Managed to Avoid the Sophomore Slump

sophomore slump refers to an instance in which a second, or sophomore, effort fails to live up to the relatively high standards of the first effort. (1)

It’s exciting when a new filmmaker manages to make a big splash with their first film. An impressive debut can, and often does, generate a lot of interest from studios and audiences alike. For many movie lovers, it immediately elicits the following statement:

“I can’t wait to see what they do next….”

Suddenly, there is the burden of expectation. Audiences who loved a director’s first film are now excited by the prospect of a whole career of great films. Off of just one great movie, we begin crafting our own narratives, asking questions like “Could they be the next Speilberg? The new Hitchcock?” Unfortunately for most directors, the second movie is often the one that faces the most scrutiny. It could be the added pressure of audience expectations or working with an expanded budget; either way, the second time around proves to be one that rattles many film makers and results in movies that are more or less considered to be an underwhelming follow up. This has become known among film and music circles as the dreaded “sophomore slump”.

While the sophomore slump has been well documented in the film industry, there are plenty of examples of GREAT follow-up films; some of which have become remembered as the high mark in a director’s career. All these films can be found in the collection of our Chester County Library Catalogue.

This month we at the Chester County Library Multimedia Department are giving you a list that proves that sometimes second truly is the best.

Alien (1979) / Ridley Scott

In 1979, director Ridley Scott followed up his debut film The Duellists (1977), with the Sci-Fi Horror masterpiece Alien. The film went on to become an instant classic , spawning its own franchise of 5 subsequent sequels with more on the way. Scott continues to have one of the most prolific careers a director can ask for, with a lifetime of impressive credits including: Blade Runner, Legend, Thelma & Louise, 1492, White Squall, Gladiator, Black Hawk Down, Kingdom of Heaven, Prometheus, Alien: Covenant, All the Money in the World, The Last Duel and House of Gucci.

Lost in Translation / Sofia Coppola

It is not easy carving a name out for yourself as a filmmaker. Now imagine how hard it would be, if your father was a director known for making what many consider the greatest film ever made: The Godfather… It is still astounding to me that Sofia Copolla climbed out of such a looming shadow as her father’s career and truly created a style of film making all her own. Her first film, The Virgin Suicides, proved to many that Sofia was a true talent and could make a great film. It was her second film, Lost in Translation, which cemented her as a legend in her own right. Lost in Translation received critical praise and went on to be nominated for four Academy Awards including: Best Picture, Best Director, Best Actor (Bill Murray), and Best Original Screenplay (which Sofia Coppola won). Sofia Coppola continues to have an illustrious career, making unique and expressive films such as Marie Antoinette, Somewhere, The Bling Ring, and The Beguiled.

Boogie Nights/ Paul Thomas Anderson

Paul Thomas Anderson was just 26 years old when his first film Hard Eight premiered and gained some significant attention at the Sundance film festival. I guess his youth helps explain how in just one short year, he churned out the magnum opus Boogie Nights, which chronicled the pornographic film industry spanning over the entire decade of the 1970s. It is a massive movie filled with incredible performances from an all star cast including: Phillip Seymour Hoffman, John C. Reilly, Julianne Moore, Burt Reynolds giving what is truly a career best performance, and most famously it is the film that convinced audiences that Mark Wahlberg was a true movie star. Anderson is no slouch, and continues to make some of the biggest and most artistically relevant films of this day and age. Later films in his career included Magnolia, Punch Drunk Love, There Will Be Blood, The Master, Inherent Vice, and one of this year’s best films: Licorice Pizza!

Harold & Maude / Hal Ashby

After his 1970 feature The Landlord did moderately well, Hal Ashby’s second film Harold & Maude proved to become a well loved cult classic among audiences; so much so, that even in a long career with many well-received films, this is still considered one of his best.

Cabaret / Bob Fosse

While he admittedly had plenty of experience directing for the stage, Bob Fosse had only one previous film under his belt, when he directed the film that would forever change movie musicals. After a rather lackluster debut, with 1969’s film adaptation of stage show Sweet Charity, Fosse turned the tides with Cabaret, which went on to winning eight academy awards at the 1972 Oscars including Best Director, which he famously beat out Francis Ford Coppola who was nominated for The Godfather. Fosse’s filmography was incredibly short but Cabaret was as great and as big of a success anyone could hope to have with only the second film in their career.

Halloween / John Carpenter

John Carpenter is the master of genre film-making, but his stamp on the Horror genre is one that remains unparalleled to this day. Following his first major motion picture (we aren’t counting his student film Dark Star here), the crime/drama Assault on Precinct 13 is not an easy task. As far as first film’s go that movie is a hard act to follow. In fact the only way to top yourself is to absolutely change the landscape of film. Lucky for Carpenter, and for us, he did just that by making the ultimate Horror movie slasher with the original Halloween. There have been many slashers since, but none that served as such a monumental game-changer as this one.

Pulp Fiction / Quentin Tarantino

Possibly one of the biggest and most important step ups in a directors career is Quentin Tarantino’s progression from his exciting debut hit Reservoir Dogs to the cinema classic Pulp Fiction. While Reservoir Dogs is a fun fan favorite, it seems ironically sophomoric in comparison to the much more mature, better scripted, better acted, better shot follow up of Pulp Fiction. While the style and tone of both remain undeniably Tarantino, Reservoir Dogs feels like a rough draft or practice round for the Tarantino’s legendary and beloved second feature film.

Raising Arizona / Joel & Ethan Coen

Sometimes following up a movie that is completely from a different genre can be a great way to not become pigeon-holed as one type of filmmaker. For the legendary duo of the Coen Brothers that turned out to be the perfect move for their career, when they followed up their gritty and tense crime drama Blood Simple with their zany cartoonish love story between an ex cop and ex criminal that will make you howl with laughter!

The Matrix / Lana & Lilly Wachowski

The Wachowski Sisters are absolute filmmaking game-changers! They have constantly broke down boundaries and continue to push audiences to expand their minds and think outside of the box. It is insane to look back and realize that after their tremendous, but criminally underseen neo noir Bound, the made what was only their second major studio film which turned our to be The Matrix. As far as second movies go, there is no bigger jump in impact, quality and excellence in film making than making The Matrix as your sophomore film. That statement would be true following almost any film in a directors filmography and that is truly saying something.

The Texas Chainsaw Massacre / Tobe Hooper

I will fully admit to still never having seen Tobe Hooper’s first film, Eggshells. While that film did not seem manage to much of a cultural impact, Hooper’s second film was an absolute lightning rod of a horror film and stands today as one of the most effective horror films ever put to film. The Texas Chainsaw Massacre invented an entire sub genre of horror, introducing a gritty, unpolished style that changed the landscape of horror films forever. Not too shabby for your second film.

Us / Jordan Peele

Finishing out our list is what could be possibly one of the best second films of recent memory. With Jordan Peele’s newest horror film Nope already in theatres, its a perfect time for audiences to go back and appreciate just how great his second film Us was. After Get Out served as on of the most impressive debuts that any Horror filmmaker could have hoped for (it even nabbed Jordan Peele an Academy Award for Best Screenplay), the prospect of following it up with a second film was a daunting prospect to say the least. Us managed to ratchet up the terror and show true improvements and strides in his approach to cinematography and composition. Us was a big success at the box office and yet it is still one of the most criminally underrated Horror films of the last ten years.

By Eric


Wikimedia Foundation. (2022, April 7). Sophomore slump. Wikipedia. Retrieved July 24, 2022, from


A “sleeper” in movie parlance is an unheralded or dismissed film whose success confounds critics when it catches fire with audiences.  Through word of mouth and a mysterious penetration of the culture, sleepers become huge commercial successes despite, in many instances, low budgets and no-name casts.  Sometimes, mostly in the pre-VHS/DVD era, an underperforming movie might disappear only to resurface to acclaim after the producer or director gains control of the film and makes a deal with exhibitors to bring it back into theaters.  Often the return on production is astronomical.  Looking back, we see that sleepers are emblematic of independent film production and distribution, in short, the post-studio system era.       

Significant Sleepers:

Dr. No (1962)

This first feature-length film based on the exploits of Ian Fleming’s MI6 British Agent 007, aka James Bond (Sean Connery), heralded the cinema’s longest-running movie series.  Technological gimmicks that came to define the ongoing cycle were held to a minimum in this and the sequel From Russia With Love, both of which relied on fisticuffs, knives and pistols rather than futuristic cars, rocket jet-packs and lethal bowler hats.  For Dr. No, critical reaction was all over the map.  The Daily Express said it “was fun all the way,…” while the Vatican called it “a dangerous mixture of violence, vulgarity, sadism and sex.”  Bond definitely has a hard edge here, depicted most overtly as he feigns indifference when Professor Dent (Anthony Dawson) pulls out his Smith & Wesson and fires six shots.  But with blanks.  Bond smirks as he returns deadly fire with his Walther.  Dr. No cost $1.1 million and made $59.5 million.   

Night of the Living Dead (1968)

A farmhouse provides temporary safety for a disparate group of humans beset by shambling, pasty-faced and flesh-devouring “things.”  Drive-ins were showing this three years after its premiere.  Made on the proverbial shoestring budget, it eventually grossed $30 million.  It was a watershed moment for cinematic zombies, an instant cult film for aficionados of the undead.  Remakes and sequels followed.  Variety was aghast:  “Casts serious aspersions on the integrity and social responsibility of its Pittsburgh-based makers, distrib Walter Reade, the film industry as a whole and exhibs who book the pic.”  (Variety, October 16, 1968)  The literate horror film-specific fanzine Castle of Frankenstein (July 1970) looked askance:  “Putrid, with indistinct, bad acting and needlessly gruesome bloodletting.”  In Cult Movies, Danny Peary wrote, “If ever a picture became a hit because of favorable word-of-mouth, this is it.  Horror aficionados stumbled upon it in run-down theaters on New York’s Forty-Second Street or in drive-ins in the sticks, and soon spread the word that they had ‘discovered a masterpiece of the genre’.”  In Medium Cool:  The Movies of the 1960s, Ethan Mordden echoed Peary:  “It was, in fact, seen only sporadically at first, not truly enjoyed till its cult status began to gather in the early 1970s, when it became one of the first titles to popularize the ‘midnight screening’.”

Easy Rider (1969)

Dealing cocaine to fund a cross-country road trip from California to New Orleans, two bikers (Peter Fonda and Dennis Hopper) aim not only to participate in Mardi Gras but to discover the authentic America.  Along the way they encounter bigoted police, a “free love” commune, and an alcoholic lawyer (Jack Nicholson). Variety said, “Script is literate and incisive and Hopper’s direction is fluid, observant and catches the pictorial poetics with feeling.” It cost $400,000 and took in $60 million.  The tagline:  “A man went looking for America.  And couldn’t find it anywhere.” In Medium Cool,Ethan Mordden concluded, “Above all, Easy Rider was big because it became prominent.  Little films didn’t, as a rule, which obscures the history of the B in its time of highest development.”      

Harold and Maude (1971)

A seemingly suicidal young man (Bud Cort) finds a kindred but life-affirming friend and lover in the aging and distinctly eccentric Maude (Ruth Gordon).  Cat Stevens provided the evocative score for this black comedy that foundered during its initial release but picked up steam through word of mouth.  Roger Ebert gave it one-and-one-half stars, but in 2017 Chicago Tribune critic Mark Caro, responding to a poll, said, “I’m sorry, Harold and Maude, for denying you for so long.  You’re my favorite movie once again.”  Variety (December 16, 1971) said, “Harold and Maude has all the fun and gaiety of a burning orphanage.”  Bud Cort said much later that the film made $350 million.  The best analysis of this movie is probably found in Cult Movies: “Harold and Maude is a film about death and resurrection, where death and life continuously overlap.”  Ruth Gordon was moved by New York Times critic Vincent Canby’s negative review to write him a letter that offered her opinion that he should have watched the film with a normal audience, not a screening room with a bunch of fellow critics.

Billy Jack (1971)

Tom Laughlin starred, directed and wrote with his wife Delores Taylor this anti-authority action film in which the title character uses martial arts skills to ameliorate the dark cloud under which the Freedom School’s students live, i.e., a corrupt county government and those who would send wild horses to the glue factory.  After the American International Pictures deal fell through, 20th Century-Fox picked it up, but that partnership waned, too, and Warner Bros. released the film and it made $10 million.  Laughlin then got hold of it and re-released it and the grosses exceeded $32 million.  “The industry shook its collective head in disbelief,” wrote Peary in Cult Movies, adding that it was sometimes pretentious but energetic and not badly made.  Variety (December 31, 1970) praised Laughlin and Taylor.  There is a disturbing (and not in a good way) prequel, The Born Losers, and two sequels.

The Rocky Horror Picture Show (1975)

In Cult Movies, Danny Peary called this musical comedy horror flick “the ultimate audience participation film.”  The story:  when their car breaks down, an engaged couple, Janet (Susan Sarandon) and Brad (Barry Bostwick) find themselves near a castle in which a Transylvanian convention is taking place.  They encounter various celebrants, including the seductive bisexual mad doctor, Dr. Frank-N-Furter (Tim Curry) and his creation, Rocky.  The movie cost under $2 million and made over $200 million—and more, counting ongoing revivals.  Variety thought the film failed to capture the spirit of the stage play.  “The sparkle’s gone.”

Friday the 13th (1980)

On the heels of 1978’s Halloween came this slasher film with another seemingly unstoppable madman.  It cost $550,000, made close to $60 million, and spawned a franchise.  Said Science Fiction, Fantasy and Horror Film Sequels, Series and Remakes (Vol. I, 1997), “The filmmakers, we think, were basically intrigued by the success of Halloween (and that film’s obvious progenitors).  The premise of each film bears no closer scrutiny than do the fireside horror stories that are frequently included therein….The plots…are stripped down to the bare essentials of horny teens, stupid adults, isolated boondocks and mad slasher.”

Clash of the Titans (1981)

Critical response was mostly ho-hum other than praise for Ray Harryhausen’s stop-motion creatures in this movie version of the Perseus myth.  Think Medusa!  “Release the Kraken!” became a catch-phrase.  It cost under $20 million to make but grossed in excess of $70 million.    

Dirty Dancing (1987)

Dance instructor at a Catskills resort in 1963, Johnny Castle (Patrick Swayze) romances the young guest Frances “Baby” Houseman (Jennifer Grey).   “Nobody puts Baby in the corner” became a catch-phrase.  Some major critics were unimpressed when it premiered.  Variety liked the production values, “some nice dance sequences,” and Jennifer Grey’s performance, but Swayze’s character was unconvincing.  Roger Ebert was “Thumbs Down,” citing an “idiot plot.”  His partner Gene Siskel gave it a “marginal Thumbs Up.”  By contrast, the public went gaga.  A budget of $4.5 million produced a film that made $214.6 million.

The Blair Witch Project (1999)

Presented as a “found footage” documentary about the search for Maryland’s Blair Witch, the film cost no more than $500,000 and ended up making over $248,000,000.  The New York Times (July 14, 1999) was impressed that the filmmakers made something out of nothing, and Rolling Stone (July 30, 1999) said it would “creep you out of your skin.” 

My Big Fat Greek Wedding (2002)

Nia Vardalos turned her play about a Greek- American woman (Vardalos) falling in love with an Anglo teacher (John Corbett) into a thunderous movie hit.  Each family’s foibles and idiosyncracies produced many laughs.  It never took the weekly #1 spot but had “legs.”  Audiences would remember and cite various amusing episodes.   Production costs were around $6 million and it made over $368 million.

Lost in Translation (2003)

American movie star Bob Harris (Bill Murray) arrives in Tokyo to film a Suntory whiskey commercial and stumbles on recent Yale graduate Charlotte (Scarlett Johansson), whose photographer husband leaves her alone for long stretches of time.  Both afflicted with ennui, Charlotte and Bob band together.  Nothing much was expected of director Sofia Coppola’s little film but critics were invariably positive.  It cost $4 million to make and generated $118 million. 

Lucy (2014)

This wild sci-fi actioner (“It’s tough not to be dazzled by this operatic action film’s blend of pop-philosophy, biology and silly delirium,” said USA Today on July 24, 2014.) with Scarlett Johansson as an unwilling drug mule who gains incredible mental powers that translate into physical prowess cost $40 million and made over $400 million in spite of the R rating—beating out the predicted weekend champ, Hercules.  Curiously, violence rather than nudity or foul language, prompted that rating.

Chef (2014)

It cost $11 million and arrived with little fanfare but took in $48 million.  As the title character, Carl Casper (Jon Favreau) loses his job at an upscale eatery but finds fulfillment manning a food truck and trekking across the southern tier of the country.  It’s summer and his son goes along.  Performers John Leguizamo, Scarlett Johansson, Dustin Hoffman, and Robert Downey, Jr. make appearances.  Sofia Vergara plays Casper’s estranged wife.  It’s a charming, mouth-watering tale.  Critics were generally favorable.  The Los Angeles Times (May 8, 2014) congratulated Favreau’s decision to avoid “done-to-death family dynamics, forced obstacles and predictable responses for authentic interaction, organic humor and a hopeful vitality.”    

The Greatest Showman (2017)

A high-concept musical about the life of P. T. Barnum starred Hugh Jackman, Michelle Williams, Rebecca Ferguson and other “names.”  Like My Big Fat Greek Wedding, it had “legs.”  A disappointing first week was compensated for by a final gross of $434 million against production costs of $84 million.  Critics were mostly positive with word of mouth at least as responsible for its success.  Library DVD rentals were high.  

By Kim


Unless stated otherwise, film grosses are from Wikipedia.

Elley, Derek.  Variety Movie Guide.  1991.

Gordon, Ruth.  My Side:  The Autobiography of Ruth Gordon.  1976. 

Mordden, Ethan.  Medium Cool:  The Movies of the 1960s.  1990. 

Peary, Danny.  Cult Movies.  1981.

August Adult Book Groups

The Chester County Library Evening and Afternoon Book Discussion groups have returned to in person meetings. The other groups are remaining virtual.  Please see our August titles and dates below. The online groups are being held via Zoom. We are requiring registration for these online book groups in order to send out the Zoom meeting information. Click on the date below to register. Information on our adult book groups can also be found on our website:

Evening Book Group
Monday, August 1, 6:30 p.m. – 7:30 p.m.
Miss Benson’s Beetle by Rachel Joyce
This session will be held in person in the Burke Room at the Chester County Library.

Afternoon Book Group
Wednesday, August 17, 1:30 p.m. – 2:30 p.m.
Mexican Gothic by Silvia Moreno-Garcia
This session will be held in person in the Burke Room at the Chester County Library.

Comics Unbound Group
Monday, August 15, 7:00 p.m. – 8:30 p.m.
Vinland Saga Vol 1 by Makoto Yukimura

The Page Turners Book Group  and the Whodunits Book Group will return in September.

Registration is required for all book groups. Registration will close at least 2 hours prior to the scheduled start time of the book group. A Zoom link will be emailed to registrants 2 hours before the book group starts.  Make sure to check the email address you registered with to receive the link.  You do not need a Zoom account to attend the virtual book group.

These programs support the PA Forward Civic and Social Literacy Initiative.


Kim’s Picks

Last Night in Soho

Thomasin Mackenzie (JoJo Rabbit) and Anya Taylor-Joy (The Witch) feed off each other in this unsettling paean to London’s swingin’ sixties–although it moves back and forth between past and present.

The Black Death:  The World’s Most Devastating Plague by Dorsey Armstrong

Author and narrator Armstrong is a Purdue University professor well-versed in medieval history and herein describes the plague(s) that devastated Europe in the mid-14th century and makes a cogent case for the “original” pandemic (1347-1351) as a prime cause of the Renaissance. 

Eric’s Picks

Licorice Pizza

Licorice Pizza follows the misadventures of Alana Kane and Gary Valentine: two young people fumbling into adulthood as they bounce from one odd job to another in the San Fernando Valley of the 1970s. Masterfully directed by one of this era’s most prolific filmmakers: Paul Thomas Anderson (Boogie Nights, Magnolia, There Will Be Blood), the film will transport you to back to your own youth, no matter when you grew up. You will laugh, cringe, and maybe even shed a tear watching these two make an array of embarrassingly relatable mistakes that come with falling in love for the very first time.

Fever to Tell / The Yeah Yeah Yeahs

Fever to Tell is not just one of the best debut albums by a band, it may be one of the best indie-rock albums ever recorded, PERIOD. This is one of those very rare albums where every single track is an absolute banger. Tracks include: “Y Control”, “Pin”, “Black Tongue”, “Rich”, and the smash hit single “Maps”. Between her incredible vocals and her electrifying stage presence: Karen Oh remains one of the most unique frontwomen in the rock scene and this album is where it all began.

Felicia’s Picks

Fallen Angels

A gorgeous, surreal movie, with a suprising emotional core. A bit difficult to describe, but an all time favorite film of mine.

Little dark age / MGMT

One of the best albums to come out of the 80s synthpop revival of the late 2010s.

Jessie’s Picks

The Monument’s Men

This movie, which has a great cast, is based on the true story of a group of art experts that tries to save Europe’s art masterpieces from the Nazis.  If you like the movie, try the book to learn more!

The Scarlet Pimpernel

The Scarlet Pimplernel is an Englishman that uses a variety of disguises and methods to save French aristocrats during the French revolution.  Ralph Cosham does a great job narrating this classic with the English and French accents.  

By Eric

Hiding in Plain Sight: Youth Mental Illness Screener & Discussion at Hankin Library

CHESTER SPRINGS, PA — On Thursday, August 4th, from 5:30-7:30 pm, Henrietta Hankin Branch Library is honored to continue its partnership with PBS Books and WETA in presenting a screener and discussion of the recently aired Ken Burns documentary Hiding in Plain Sight: Youth Mental Illness.

This documentary focuses on the mental health crisis among youth in America.  It features first-person accounts from more than 20 young people, ranging in age from 11 to 27, who live with mental health conditions, as well as their parents, teachers, friends, healthcare providers, and independent mental health experts.  The film presents an unvarnished window into daily life with mental health challenges, from seemingly insurmountable obstacles to stories of hope and resilience. Through the experiences of these young people, the film confronts the issues of stigma, discrimination, awareness, and silence, and, in doing so, helps advance a shift in the public perception of mental health issues today.

A panel consisting of local mental health specialists and representatives from groups that provide mental health services in the area will lead a discussion after the 30-minute screener. The panel will include:

  • Janet Edgette – Psychologist in private practice specializing in child and adolescent mental health and parenting support/coaching;
  • Lindsay Meehan Mayo, CPS – Certified Peer Support Specialist for Peer Support and Teen Talk Lines for Chester and Montgomery Counties;
  • Amanda Blue, MPH – Outreach Manager and Director of Mental Health First Aid Program for the College of Health Sciences at West Chester University, and Chair of the Chester County Suicide Prevention Task Force;
  • Carol Rothera, MS, LPC – Intervention counselor for 17 years and Supervisor for Student Services in the West Chester Area School District.

Panelists will answer questions on local community resources as well as offer their own takes on issues confronted in the film.

We warmly invite teens, parents, and community members to come in to participate in this important conversation.  Anyone who would like to view the full documentary in advance of the event may stream it for free on all station-branded PBS platforms, including through July 25th.

The program will take place in person in the Annex of the library.  Pizza and light refreshments will be provided.  To register, please visit here. This event supports PA Forward Health and Civic and Social Literacies.

The mission of the Chester County and Henrietta Hankin Branch Libraries is to provide informational, educational, and cultural services to the residents of Chester County so that they may be lifelong learners.   The Henrietta Hankin Branch Library is located at 215 Windgate Drive, Chester Springs, PA.  For hours or more information, visit our website at

CCLS/CCL Board Meeting

Due to the easing of COVID restrictions, the Board of Trustees of the Chester County Library System/Chester County Library will now be hosting their monthly board meeting as a hybrid offering. If you have always wanted to attend a meeting but haven’t had the time, this is your opportunity. Please click on this link at 8:30 a.m. on Tuesday July 19 to join the Chester County Library System Board Meeting virtually; or attend in person at the Oxford Library, 48 South Second Street, Oxford, PA 19363. The Chester County Library Board Meeting will immediately follow. Find the Chester County Library Board Packet here.

If you are a person with a disability and wish to attend this meeting and require an auxiliary aid, service, or other accommodation to observe or participate in the proceedings, please call Chester County Library’s Administration Office at 610-344-5600 or email to discuss how we may best accommodate your needs.

Lions Club Donation Increases Accessibility For the Visually Impaired at Chester County Library

(EXTON, PA) We are so grateful to the West Goshen Lions Club, West Chester Lions Club, and the Lions of Pennsylvania Foundation who presented us with a check today for $3500 after they approved a grant application from our Equity, Diversity, and Inclusion Committee aimed to increase accessibility at the library.

These funds will be used to purchase Orcam MyEye equipment, wearable assistive technology made for the visually impaired. This voice-activated device attaches to any glasses. It can instantly read text from a book, smartphone screen, or any other surface, recognize faces and help patrons browse information on their own, and work more efficiently and independently when they visit the library. With the ability to convey visual information audibly, in real-time, and offline this equipment will significantly improve the services we can provide to our visually impaired community. It will be stored at the Reference Desk for patrons to sign out and use in the building.

Representatives from the Lions Club presented Chester County Library Director, Mary Gazdik and Reference Librarian, Jamie Claxton, with a check to fund the Orcam MyEye equipment on Tuesday, June 28th.