document_title: Manna

question_text: where in the bible does it talk about manna from heaven

text: Manna

text: Description[edit]

text: Biblical / canonical description[edit]

text: In the Hebrew Bible, manna is described twice: once in Exodus 16:1–36 with the full narrative surrounding it, and once again in Numbers 11:1–9 as a part of a separate narrative. In the description in the Book of Exodus, manna is described as being "a fine, flake-like thing" like the frost on the ground.[2] It is described in the Book of Numbers as arriving with the dew during the night.[3] Exodus adds that manna was comparable to hoarfrost in color,[2] similarly had to be collected before it was melted by the heat of the sun,[4] and was like a coriander seed in size but white in color.[5] Numbers describes it as having the appearance of bdellium,[6] adding that the Israelites ground it and pounded it into cakes, which were then baked, resulting in something that tasted like cakes baked with oil.[7] Exodus states that raw manna tasted like wafers that had been made with honey.[5] The Israelites were instructed to eat only the manna they had gathered for each day. Stored manna "bred worms and stank":[8] the exception being that stored the day before the Sabbath (Preparation Day), when twice the amount of manna was gathered. This manna did not spoil overnight, because, Exodus 16:23–24 states:

text: This is what the Lord commanded: "Tomorrow is to be a day of rest, a holy Sabbath to the Lord. So bake what you want to bake and boil what you want to boil. Save whatever is left and keep it until morning." So they saved it until morning, as Moses commanded, and it did not stink or get maggots in it.[9]

text: Manna in the New Testament[edit]

text: In the Bread of Life Discourse in John's Gospel, the evangelist refers three times to the manna which the Jews' ancestors ate in the desert: the Jews refer to the manna given to them by Moses as a sign of God's promised covenant, and Jesus asserts that the manna was from God and not from Moses, and that the people who ate it were nourished on their journey but ultimately died. In contrast, according to the gospel, Jesus offered living bread, and whoever ate this bread would never die.[10]

text: Manna in the Qurʾān[edit]

text: The word mana appears three times in the Qurʾān, in Quran 2:57, 7:160 and 20:80.[11] It is narrated in the hadith Sahih Muslim that the Prophet Mohammad said "Truffles are part of the 'manna' which Allah sent to the people of Israel through Moses, and its juice is a medicine for the eye."[12]

text: Identification[edit]

text: Some scholars have proposed that manna is cognate with the Egyptian term mennu, meaning "food",[13] a term that has never been attested to in history. At the turn of the twentieth century, Arabs of the Sinai Peninsula were selling resin from the tamarisk tree as man es-simma, roughly meaning "heavenly manna".[14] Tamarisk trees (particularly Tamarix gallica) were once comparatively extensive throughout the southern Sinai, and their resin is similar to wax, melts in the sun, is sweet and aromatic (like honey), and has a dirty-yellow color, fitting somewhat with the Biblical descriptions of manna.[15][16] However, this resin is mostly composed of sugar, so it would be unlikely to provide sufficient nutrition for a population to survive over long periods of time,[15] and it would be very difficult for it to have been compacted into cakes.[16]

text: Other researchers have believed manna to be a form of lichen - a plant colony that often has a low mass per unit volume density and a large "sail area." In particular, Lecanora esculenta has been postulated. Known natural aerial falls of various lichens have been described as occurring in accounts separate from that in the bible. "In some parts of Asia Lecanora esculenta covers the soil to such a degree that, according to Parrot, it forms beds 15 to 20 centimetres thick."[17][18]

text: In the Biblical account, the name manna is said to derive from the question man hu, seemingly meaning "What is it?";[19] this is perhaps an Aramaic etymology, not a Hebrew one.[16] Man is possibly cognate with the Arabic term man, meaning plant lice, with man hu thus meaning "this is plant lice",[16] which fits one widespread modern identification of manna, the crystallized honeydew of certain scale insects.[16][20] In the environment of a desert, such honeydew rapidly dries due to evaporation of its water content, becoming a sticky solid, and later turning whitish, yellowish, or brownish;[16] honeydew of this form is considered a delicacy in the Middle East, and is a good source of carbohydrates.[20] In particular, there is a scale insect that feeds on tamarisk, the Tamarisk manna scale (Trabutina mannipara), which is often considered to be the prime candidate for biblical manna.[21][22]

text: Another type is turkey oak manna, also called Persian gezengevi- gezo, men, Turkish Kudret helvasi, man-es-simma, also Diarbekir manna, or Kurdish manna. It is formed by aphids and appears white. It was common in western Iran, northern Iraq and eastern Turkey. When dried it forms into crystalline lumps which are hard and look like stone. They are pounded before inclusion in breads.[23]

text: A number of ethnomycologists, including Terence McKenna,[24] have suggested that most characteristics of manna are similar to that of Psilocybe cubensis mushrooms, notorious breeding grounds for insects, which decompose rapidly. These peculiar fungi naturally produce a number of molecules that resemble human neurochemicals, and first appear as small fibres (mycelia) that resemble hoarfrost. Psilocybin, the primary psychoactive molecule in the "Psilocybe cubensis" mushroom, has been shown to produce spiritual experiences, with "personal meaning and spiritual significance" when test subjects were evaluated 14 months later.[25]

text: Other minority identifications of manna are that it was a kosher species of locust,[26] or that it was the sap of certain succulent plants (such as those of the genus Alhagi, which have an appetite-suppressing effect).

text: Potential discrepancies[edit]

text: Some form critics posit conflicting descriptions of manna as derived from different lore, with the description in Numbers being from the Jahwist tradition, and the description in Exodus being from the later Priestly tradition.[27][28] The Babylonian Talmud states that the differences in description were due to the taste varying depending on who ate it, with it tasting like honey for small children, like bread for youths, and like oil for the elderly.[29] Similarly, classical rabbinical literature rectifies the question of whether manna came before or after dew, by holding that the manna was sandwiched between two layers of dew, one falling before the manna, and the other after.[14]

text: Origin[edit]

text: Manna is from Heaven, according to the Hebrew Bible [30] and to Jesus in the New Testament,[31] but the various identifications of manna are naturalistic. In the Mishnah, manna is treated as a natural but unique substance, "created during the twilight of the sixth day of Creation",[32] and ensured to be clean, before it arrives, by the sweeping of the ground by a northern wind and subsequent rains.[33] According to classical rabbinical literature, manna was ground in a heavenly mill for the use of the righteous, but some of it was allocated to the wicked and left for them to grind themselves.[14]

text: Use and function[edit]

text: Until they reached Canaan, the Israelites are implied by some passages in the Bible to have eaten only manna during their desert sojourn,[34] despite the availability of milk and meat from the livestock with which they traveled, and the references to provisions of fine flour, oil, and meat, in parts of the journey's narrative.[14]

text: As a natural food substance, manna would produce waste products; but in classical rabbinical literature, as a supernatural substance, it was held that manna produced no waste, resulting in no defecation among the Israelites until several decades later, when the manna had ceased to fall.[35] Modern medical science suggests the lack of defecation over such a long period of time would cause severe bowel problems, especially when other food later began to be consumed again. Classical rabbinical writers say that the Israelites complained about the lack of defecation, and were concerned about potential bowel problems.[35]

text: Many Christian vegetarians say that God had originally intended man would not eat meat because plants cannot move and killing them would not be sinful: manna, a nonmeat substance, is used to support this theory.[36] Further, when the people complained and wished for quail, God gave it to them, but they apparently still complained and some greedily gathered the quail. "While the meat was still between their teeth, before it was chewed, the anger of the Lord was kindled against the people."[37]

text: Food was not manna's only use; one classical rabbinical source states that the fragrant odor of manna was used in an Israelite perfume.[14]

text: Gathering[edit]

text: Exodus says each day one omer of manna was gathered per family member (about 3.64 litres),[38] and may imply this was regardless of how much effort was put into gathering it;[39] a midrash attributed to Rabbi Tanhuma remarks that although some were diligent enough to go into the fields to gather manna, others just lay down lazily and caught it with their outstretched hands.[40] The Talmud states that this factor was used to solve disputes about the ownership of slaves, since the number of omers of manna each household could gather would indicate how many people were legitimately part of the household;[41] the omers of manna for stolen slaves could be gathered only by legitimate owners, and therefore legitimate owners would have spare omers of manna.[41]

text: According to the Talmud, manna was found near the homes of those with strong belief in God, and far from the homes of those with doubts;[41] indeed, one classical midrash says that manna was intangible to Gentiles, as it would inevitably slip from their hands.[42] The Midrash Tanhuma holds that manna melted, formed liquid streams, was drunk by animals, flavored the animal flesh, and was thus indirectly eaten by Gentiles, this being the only way that Gentiles could taste manna.[43] Despite these hints of uneven distribution, classical rabbinical literature expresses the view that manna fell in very large quantities each day. It holds that manna was layered out over 2,000 cubits square, between 50 and 60 cubits in height, enough to nourish the Israelites for 2,000 years[14] and to be seen from the palaces of every king in the East and West.[44] This is probably a metaphorical statement.

text: Sabbath[edit]

text: According to Exodus, Shabbat (Sabbath) was reinstituted the first week manna appeared.[45] It states that twice as much manna as usual was available on the sixth morning of the week, and none at all could be found on the seventh day;[46] although manna usually rotted and became maggot-infested after a single night,[8] that which had been collected on the sixth day remained fresh until the second night.[47] Moses stated that the double portion of Preparation Day was to be consumed on Shabbat;[45] and that God instructed him that no one should leave his place on Shabbat,[48] so that the people could rest during it.[49]

text: Form critics regard this part of the manna narrative to be spliced together from the Yahwist and Priestly traditions, with the Yahwist tradition emphasizing rest during Shabbat, while the Priestly tradition merely states that Shabbat exists, implying that the meaning of "Shabbat" was already known.[16][50] These critics regard this part of the manna narrative as an etiological supernature story designed to explain the origin of Shabbat observance, which in reality was probably pre-Mosaic.[16]

text: Duration of supply[edit]

text: Exodus states that the Israelites consumed the manna for forty years, starting from the fifteenth day of the second month (Iyar 15),[51] but that it then ceased to appear once they had reached a settled land, and once they had reached the borders of Canaan (inhabited by the Canaanites).[52] Form critics attribute this variation to the view that each expression of the manna ceasing derives from different lore; the "settled land" is attributed to the Priestly tradition,[16][50] and "Canaan's borders" to the Yahwist tradition, or to a hypothetical later redaction to synchronize the account with that of the Book of Joshua,[16][50] which states that the manna ceased to appear on the day after the annual Passover festival (Nisan 14), when the Israelites had reached Gilgal.[53] The duration from Iyar 15 to Nisan 14, taken literally, is forty years less one month.

text: There is also a disagreement among classical rabbinical writers as to when the manna ceased, particularly in regard to whether it remained after the death of Moses for a further forty days, seventy days, or fourteen years;[54] indeed, according to Joshua ben Levi, the manna ceased to appear at the moment that Moses died.[14]

text: Despite the eventual termination of the supply of manna, Exodus states that a small amount of it survived within an omer-sized pot or jar, which was kept facing the Testimony (possibly, adjacent to the Ark of the Covenant);[55] it indicates that God instructed this of Moses, who delegated it to Aaron.[56] The Epistle to the Hebrews states that the pot was stored inside the Ark.[57] Classical rabbinical sources believe the pot was made of gold; some say it was only there for the generation following Moses, and others that it survived at least until the time of Jeremiah.[14] However, the First Book of Kings states that it was absent earlier than Jeremiah, during Solomon's reign in the tenth century B.C.[58] Form critics attribute the mention of the pot to the Priestly tradition, concluding that the pot existed in the early sixth century B.C.[50]

text: Later cultural references[edit]

text: By extension, "manna" has been used to refer to any divine or spiritual nourishment.

text: At the Basilica of Saint Nicholas in Bari, Italy, there is an annual ceremony of collecting a clear liquid from the tomb of Saint Nicholas;[59] legend credits the pleasant perfume of this liquid with warding off evil, and it is sold to pilgrims as "the Manna of Saint Nicholas".[60] The liquid gradually seeps out of the tomb, but it is unclear whether it originates from the body within the tomb, or from the marble itself; since the town of Bari is a harbor, and the tomb is below sea level, there are several natural explanations for the manna fluid, including the transfer of seawater to the tomb by capillary action.[61]

text: In the seventeenth century, a woman marketed a clear, tasteless product as a cosmetic, "the Manna of Saint Nicholas of Bari". After the deaths of some 600 men, Italian authorities discovered that the alleged cosmetic was a preparation of arsenic, used by their wives.[62]

text: In a modern botanical context, manna is often used to refer to the secretions of various plants, especially of certain shrubs and trees, and in particular the sugars obtained by evaporating the sap of the manna ash, extracted by making small cuts in the bark.[63] The manna ash, native to southern Europe and southwest Asia, produces a blue-green sap, which has medicinal value as a mild laxative,[64] demulcent, and weak expectorant.[62]

text: The names of both the sugar mannose and its hydrogenated sugar alcohol, mannitol, are derived from manna.[65]

text: Robert Nozick references "manna from heaven" in a thought experiment about distributive justice.[66]

text: Further reading[edit]

text:
Arthur, James (2000). Mushrooms and Mankind: The Impact of Mushrooms on Human Consciousness and Religion. Escondido, CA: Book Tree. ISBN 1-58509-151-0.
Heinrich, Clark (2002). Magic Mushrooms in Religion and Alchemy. Rochester, VT: Park Street Press. ISBN 0-89281-997-9.
Merkur, Dan (2000). The Mystery of Manna: The Psychedelic Sacrament of the Bible. Rochester, VT: Park Street Press. ISBN 0-89281-772-0.
McKenna, Terence (1993). Food of the Gods: The Search for the Original Tree of Knowledge, A Radical History of Plants, Drugs, and Human Evolution. New York, NY: Bantam Books. ISBN 0-553-37130-4.


document_title: Symbolic link

question_text: what is the use of symbolic link in linux

root

text: Symbolic link

text: Overview[edit]

text: A symbolic link contains a text string that is automatically interpreted and followed by the operating system as a path to another file or directory. This other file or directory is called the "target". The symbolic link is a second file that exists independently of its target. If a symbolic link is deleted, its target remains unaffected. If a symbolic link points to a target, and sometime later that target is moved, renamed or deleted, the symbolic link is not automatically updated or deleted, but continues to exist and still points to the old target, now a non-existing location or file. Symbolic links pointing to moved or non-existing targets are sometimes called broken, orphaned, dead, or dangling.

tag: p

text: Symbolic links are different from hard links. Hard links do not link paths on different volumes or file systems, whereas symbolic links may point to any file or directory irrespective of the volumes on which the link and target reside. Hard links always refer to an existing file, whereas symbolic links may contain an arbitrary path that does not point to anything.

text: Symbolic links operate transparently for many operations: programs that read or write to files named by a symbolic link will behave as if operating directly on the target file. However, they have the effect of changing an otherwise hierarchical filesystem from a tree into a directed graph, which can have consequences for such simple operations as figuring out the current directory of a process. Even the Unix .. convention for navigating to a directory's parent directory no longer works reliably in the face of symlinks. Some shells heuristically try to uphold the illusion of a tree-shaped hierarchy, but when they do, this causes them to produce different results from other programs that manipulate pathnames without such heuristic, relying on the operating system instead.[2] Programs that need to handle symbolic links specially (e.g., shells and backup utilities) thus need to identify and manipulate them directly.

text: Some Unix as well as Linux distributions use symbolic links extensively in an effort to reorder the file system hierarchy. This is accomplished with several mechanisms, such as variant, context-dependent symbolic links. This offers the opportunity to create a more intuitive or application-specific directory tree and to reorganize the system without having to redesign the core set of system functions and utilities.

text: POSIX and Unix-like operating systems[edit]

text: In POSIX-compliant operating systems, symbolic links are created with the symlink[3] system call. The ln shell command normally uses the link[4] system call, which creates a hard link. When the ln -s flag is specified, the symlink() system call is used instead, creating a symbolic link. Symlinks were introduced in 4.2BSD Unix from U.C. Berkeley.

text: The following command creates a symbolic link at the command-line interface (shell):

text: target_path is the relative or absolute path to which the symbolic link should point. Usually the target will exist, although symbolic links may be created to non-existent targets. link_path is the path of the symbolic link.

text: After creating the symbolic link, it may generally be treated as an alias for the target. Any file system management commands (e.g., cp, rm) may be used on the symbolic link. Commands which read or write file contents will access the contents of the target file. The rm (delete file) command, however, removes the link itself, not the target file.

text: The POSIX directory listing application, ls, denotes symbolic links with an arrow after the name, pointing to the name of the target file (see following example), when the long directory list is requested (-l option). When a directory listing of a symbolic link that points to a directory is requested, only the link itself will be displayed. In order to obtain a listing of the linked directory, the path must include a trailing directory separator character ('/', slash).

text: Note: In Below Example do not create "three" directory before creation of link in /tmp directory.

text: Storage of symbolic links[edit]

text: Early implementations of symbolic links stored the symbolic link information as data in regular files. The file contained the textual reference to the link’s target, and an indicator[clarification needed] denoting it as a symbolic link.

text: This method was slow and an inefficient use of disk-space on small systems. An improvement, called fast symlinks, allowed storage of the target path within the data structures used for storing file information on disk (inodes). This space normally stores a list of disk block addresses allocated to a file. Thus, symlinks with short target paths are accessed quickly. Systems with fast symlinks often fall back to using the original method if the target path exceeds the available inode space. The original style is retroactively termed a slow symlink. It is also used for disk compatibility with other or older versions of operating systems.

text: Although storing the link value inside the inode saves a disk block and a disk read, the operating system still needs to parse the path name in the link, which always requires reading additional inodes and generally requires reading other, and potentially many, directories, processing both the list of files and the inodes of each of them until it finds a match with the link's path components. Only when a link points to a file in the same directory do "fast symlinks" provide significantly better performance than other symlinks.

text: The vast majority of POSIX-compliant implementations use fast symlinks. However, the POSIX standard does not require the entire set of file status information common to regular files to be implemented for symlinks. This allows implementations to use other solutions, such as storing symlink data in directory entries.

text: The file system permissions of a symbolic link are not used, the access modes of the target file are controlled by the target file's own permissions. Some operating systems, such as FreeBSD, offer the ability to modify file permissions and filesystem attributes of a symbolic link, through lchmod[5] and lchflags[6] system calls respectively.

text: The reported size of a symlink is the number of characters in the path it points to.

text: Mac OS aliases[edit]

text: In Mac OS, applications or users can also employ aliases, which have the added feature of following the target, even if it is moved to another location on the same volume. This is not to be confused with the shell command alias.

text: Microsoft Windows[edit]

text: NTFS symbolic link[edit]

text: NTFS 3.1 introduced support symbolic links for any type of file. It was included with Windows XP, but was only enabled by default for kernel mode programs; Windows Vista and later versions of Windows enabled support for symbolic links to user mode applications, as well, and supplied the command line utility mklink for creating them. Third-party drivers are required to enable support for NTFS symbolic links in Windows XP.[7] Unlike junction points, a symbolic link can also point to a file or remote Server Message Block (SMB) network path. Additionally, the NTFS symbolic link implementation provides full support for cross-filesystem links. However, the functionality enabling cross-host symbolic links requires that the remote system also support them.

text: Symbolic links are designed to aid in migration and application compatibility with POSIX operating systems. Microsoft aimed for Windows Vista's symbolic links to "function just like UNIX links".[8] However, the implementation varies from Unix symbolic links in several ways. For example, Windows Vista users must manually indicate when creating a symbolic link whether it is a file or a directory.[9] Windows 7 and Vista support a maximum of 31 reparse points (and therefore symbolic links) for a given path (i.e. any given path can have at most 31 indirections before Windows gives up).[10] Only users with the new Create Symbolic Link privilege, which only administrators have by default, can create symbolic links.[11] If this is not the desired behavior, it must be changed in the Local Security Policy management console. Additionally, NTFS symbolic links to files are distinct from NTFS symbolic links to directories and therefore cannot be used interchangeably, unlike on POSIX where the same symbolic link can refer to either files or directories.

text: In Windows Vista and later, when the working directory path ends with a symbolic link, the current parent path reference, .., will refer to the parent directory of the symbolic link rather than that of its target. This behaviour is also found at the shell level in at least some POSIX systems, including Linux, but never in accessing files and directories through operating system calls. For instance, bash builtin commands pwd and cd operate on the current logical directory. pwd is often used in scripts to determine the actual current working directory. When any path is used with a system call, any use of .. will use the actual filesystem parent of the directory containing the .. pseudo-directory entry. So, cd ..; cat something and cat ../something may return completely different results.

text: Example:

text: NTFS junction points[edit]

text: The Windows 2000 version of NTFS introduced reparse points, which enabled, among other things, the use of Volume Mount Points and junction points. Junction points are for directories only, and moreover, local directories only; junction points to remote shares are unsupported.[12] The Windows 2000 and XP Resource Kits include a program called linkd to create junction points; a more powerful one named Junction was distributed by Sysinternals' Mark Russinovich.

text: Not all standard applications support reparse points. Most noticeably, Backup suffers from this problem and will issue an error message 0x80070003[13] when the folders to be backed up contain a reparse point.

text: Shortcuts[edit]

text: Shortcuts, which are supported by the graphical file browsers of some operating systems, may resemble symbolic links but differ in a number of important ways. One difference is what type of software is able to follow them:

text:
Symbolic links are automatically resolved by the file system. Any software program, upon accessing a symbolic link, will see the target instead, whether the program is aware of symbolic links or not.
Shortcuts are treated like ordinary files by the file system and by software programs that are not aware of them. Only software programs that understand shortcuts (such as the Windows shell and file browsers) treat them as references to other files.

tag: ul

text: Another difference are the capabilities of the mechanism:

text:
Microsoft Windows shortcuts normally refer to a destination by an absolute path (starting from the root directory), whereas POSIX symbolic links can refer to destinations via either an absolute or a relative path. The latter is useful if both the location and destination of the symbolic link share a common path prefix, but that prefix is not yet known when the symbolic link is created (e.g., in an archive file that can be unpacked anywhere).
Microsoft Windows application shortcuts contain additional metadata that can be associated with the destination, whereas POSIX symbolic links are just strings that will be interpreted as absolute or relative pathnames.
Unlike symbolic links, Windows shortcuts maintain their references to their targets even when the target is moved or renamed. Windows domain clients may subscribe to a Windows service called Distributed Link Tracking to track the changes in files and folders to which they are interested. The service maintains the integrity of shortcuts, even when files and folders are moved across the network.[14] Additionally, in Windows 9x and later, Windows shell tries to find the target of a broken shortcut before proposing to delete it.

text: Folder shortcuts[edit]

text: Almost like shortcuts, but transparent to the Windows shell.[15] They are implemented as ordinary folders (which need to have the read only and/or system attribute[16]) containing a shortcut named target.lnk which refers to the target and a (hidden) desktop.ini with (at least) the following contents:

text: Folder shortcuts are created and used from the Windows shell in the network neighborhood for example.

text: Shell objects[edit]

text: The shell objects[17] or shell folders are defined in the Windows registry and can be used to implement a sort of symbolic link too. Like folder shortcuts, they are transparent to the Windows shell.

text: A minimal implementation is (the CLSID {00000000-0000-0000-0000-000000000000} is used as a placeholder):

text: The My Documents folder on the Desktop as well as the Fonts and the Administrative Tools folders in the Control Panel are examples of shell objects redirected to file-system folders.

text: Cygwin symbolic links[edit]

text: Cygwin simulates POSIX-compliant symbolic links in the Microsoft Windows file system. It uses identical programming and user utility interfaces as Unix (see above), but creates Windows shortcuts (.lnk files) with additional information used by Cygwin at the time of symlink resolution. Cygwin symlinks are compliant with both Windows and the POSIX standard.[clarification needed]

text: Additionally, Cygwin can be set up to support native Windows symbolic links which can be used out of Cygwin without restrictions.[18] This requires:

text:
Editing CYGWIN variable (or use another way to set Cygwin option);
Running the Cygwin with elevated rights because Windows restricts the creation of symbolic links to privileged users

tag: ol

text: Some differences exist, however. Cygwin has no way to specify shortcut-related information – such as working directory or icon – as there is no place for such parameters in ln -s command. To create standard Microsoft .lnk files Cygwin provides the mkshortcut and readshortcut utilities[19]

text: The Cygwin User's Guide[20] has more information on this topic.

text: Summary[edit]

text:
Property/Action
Symbolic link
Junction
Hard link

When the link is deleted
Target remains unchanged
Target is deleted (except when using special tools)
Reference counter is decremented; when it reaches 0, the target is deleted

When target is moved
Symbolic link becomes invalid
Junction becomes invalid
Hard link remains valid

Relative path
Allowed
Not allowed (on saving, becomes an absolute path)
N/A

Crossing filesystem boundaries
Supported
Supported
Not supported (target must be on same filesystem)

Windows
For files
Windows Vista and later[21]
(administrator rights required)
No
Yes

For folders
Yes
No

Unix
For files
Yes
N/A
Yes

For directories
Yes
N/A
Partial[22]

tag: table

text: Amiga[edit]

text: The command creating symbolic links is makelink, which is also used for hard links. Internally the dos.library returns an error code indicating that a target is a soft link if you try to perform actions on it that are only legal for a file, and applications that wish to follow the symbolic link then needs to explicitly make a call to follow the link and retry the operation. The AmigaDOS shell will follow links automatically.

text: In the OS/2 operating system, symbolic links somewhat resemble shadows in the graphical Workplace Shell. However, shadows, due to the fully object-oriented System Object Model, are considerably more powerful and robust than a simple link. For example, shadows do not lose their capabilities when renamed or when either the object or subject of the link is relocated.[citation needed]

text: Variable symbolic links[edit]

text: Symbolic links may be implemented in a context-dependent or variable fashion, such that the link points to varying targets depending on a configuration parameter, run-time parameter, or other instantaneous condition.

text: A variable or variant symbolic link is a symbolic link that has a variable name embedded in it. This allows some flexibility in filesystem order that is not possible with a standard symbolic link. Variables embedded in a symbolic link may include user and environment specific information.

text: Operating systems that make use of variant symbolic links include FreeBSD, NetBSD, DragonFly BSD, Domain/OS.[23]

text: Tru64 uses a context dependent symbolic link where the context is the cluster member number.

text: Pyramid Technology's OSx Operating System implemented conditional symbolic links which pointed to different locations depending on which universe a program was running in. The universes supported were AT&T's SysV.3 and the Berkeley Software Distribution (BSD 4.3). For example: if the ps command was run in the att universe, then the symbolic link for the directory /bin would point to /.attbin and the program /.attbin/ps would be executed. Whereas if the ps command was run in the ucb universe, then /bin would point to /.ucbbin and /.ucbbin/ps would be executed. Similar Conditional Symbolic Links were also created for other directories such as /lib, /usr/lib, /usr/include.


document_title: I'm the One Mama Warned You About

question_text: who sings i'm the one your mother warned you about

question_tokens: who sings i 'm the one your mother warned you about

text: I'm the One Mama Warned You About

text:
"I'm the One Mama Warned You About"

Single by Mickey Gilley

from the album Too Good to Stop Now

B-side
"You Can Lie to Me Tonight"

Released
January 28, 1985

Genre
Country

Length
2:50

Label
Epic

Songwriter(s)
Mickey James, Gayle Zeiler

Producer(s)
John Boylan

Mickey Gilley singles chronology

"Too Good to Stop Now"
(1984)
"I'm the One Mama Warned You About"
(1985)
"You've Got Something on Your Mind"
(1985)

"Too Good to Stop Now"
(1984)
"I'm the One Mama Warned You About"
(1985)
"You've Got Something on Your Mind"
(1985)

text: "I'm the One Mama Warned You About" is a song written by Mickey James and Gayle Zeiler, and recorded by American country music artist Mickey Gilley. It was released in January 1985 as the second and final single from his album Too Good to Stop Now. The song reached number 10 on the U.S. Billboard Hot Country Singles chart[1] and number 10 on the Canadian RPM Country Tracks chart in Canada.

text: Chart performance[edit]

text:
Chart (1985)
Peak
position

US Hot Country Songs (Billboard)[2]
10

Canadian RPM Country Tracks
10


document_title: Foreign official

question_text: who is considered a foreign official under fcpa

text: Foreign official

text: International law[edit]

text: Members of the Organization for Economic Cooperation and Development (OECD) agreed the OECD Anti-Bribery Convention in 1999 and this treaty has been ratified by 39 countries.[1] The document[2] defines a foreign public official as follows:

text: "Foreign public official" means any person holding a legislative, administrative or judicial office of a foreign country, whether appointed or elected; any person exercising a public function for a foreign country, including for a public agency or public enterprise; and any official or agent of a public international organisation

text: And expands the definition as such:

text: "Public function" includes any activity in the public interest, delegated by a foreign country, such as the performance of a task delegated by it in connection with public procurement.

text: A "public agency" is an entity constituted under public law to carry out specific tasks in the public interest.

text: A "public enterprise" is any enterprise, regardless of its legal form, over which a government, or governments, may, directly or indirectly, exercise a dominant influence. This is deemed to be the case, inter alia, when the government or governments hold the majority of the enterprise's subscribed capital, control the majority of votes attaching to shares issued by the enterprise or can appoint a majority of the members of the enterprise's administrative or managerial body or supervisory board.

text: The definition of a foreign official defined in the OECD agreement is now referenced in enforcement actions by the United States Department of Justice.[3]

text: National jurisdictions[edit]

text: US Department of Justice definition[edit]

text: According to the US Department of Justice, the term "foreign official" is defined as:

text: any officer or employee of a foreign government or any department, agency, or instrumentality thereof, or of a public international organization, or any person acting in an official capacity for or on behalf of any such government or department, agency, or instrumentality, or for or on behalf of any such public international organization.

text: The intent of the law is to stop the bribing of foreign officials so that the actual providing of funds to foreign governments directly would not constitute a violation.

text: The FCPA applies to US companies and foreign organisations or persons doing business within the borders of the United States. This definition also applies to issuers of publicly traded securities (companies traded on US stock exchanges and in other US markets).

text: Risks of business with foreign officials[edit]

text: The process of recognising if an entity is doing business with an individual who would be considered a foreign official is not only necessary from a compliance perspective, but also necessary when evaluating the risks in a company's business model. This process can be very simple or may be quite complex depending on how many relationships an entity has in place. The process of identifying foreign officials is typically carried out by the comparisons of client or third-party lists with lists of foreign officials that contain the names and positions of such officials, as well as unique identifiers such as dates of birth, photos, and contact numbers.

text: The term foreign official should not be confused with the term "politically exposed person", as this term relates to the financial sector and its clients. The term "foreign official" relates to all industries.[5][not in citation given]


document_title: Love, Simon

question_text: when does love simon come out in canada

question_tokens: when does love simon come out in canada

text: Love, Simon

text: Plot[edit]

text: Simon Spier is a closeted gay teenage boy attending high school in a suburb of Atlanta, Georgia. He has a close and loving family: parents Emily and Jack, and sister Nora, as well as three best friends: Nick and Leah, who he has known most of his life, and newcomer Abby. One day, Leah informs Simon about an online confession of a closeted gay student at their high school, known only by the pseudonym "Blue". Simon then proceeds to reach out to him under his own alias, "Jacques". They confide very personal details, and soon he and Blue form a genuine connection. However, their emails are discovered by another student, Martin, who is infatuated with Simon’s friend Abby. After learning his secret, Martin blackmails Simon and forces him to help him win over Abby.

text: Simon begins to suspect that one of his classmates, Bram, is Blue. At a halloween party, he attempts to connect with Bram, however Simon walks in on him and a female student making out. Simon gets drunk at the party, and Leah walks him home and sleeps over. She speaks vaguely about feeling she is fated to love one person very intensely, and Simon believes she is referring to their friend, Nick.

text: Later, Simon meets with Abby and Martin at a local diner after Simon convinces them to run lines together for an upcoming musical. While there, Simon bonds with their server, a classmate named Lyle, and believes that Lyle is Blue. Martin and Abby start to grow closer. Later that night, Simon comes out to Abby, and is encouraged when she reacts positively. At a school football game, he runs into Lyle and tries to ask him out. Before he has the chance to, Simon finds out Lyle has a romantic interest in Abby.

text: An upset Simon tells a pestering Martin to either "Go big or go home" with Abby. During the national anthem at the football game, Martin, dressed as the school mascot, seizes the microphone and declares his feelings for Abby in front of the entire stadium, but she admits she does not feel the same way. A humiliated Martin becomes the subject of intense ridicule.

text: On Christmas Eve, Martin impulsively posts the screenshots of Blue and Simon's emails on the school gossip site, outing Simon by name. His younger sister Nora reports the abuse and the emails are taken down, but not before they are seen by most of the students. Nora tries to comfort her brother, but Simon shuts her out, and does not return his friends’ frantic texts. On Christmas morning, Simon comes out to his parents, much to their surprise but acceptance. Later, Blue tells Simon that the two should stop speaking, and he closes his email account.

text: After Christmas, Nick and Abby discover that Simon was manipulating Abby to try and get her to date Martin, and angrily confront him about the lies he has been telling. Leah confesses she was in love with Simon, not Nick, and is upset he came out to Abby first.

text: At school, Simon tries to determine Blue's identity to no avail. In the cafeteria, Simon and another openly gay student, Ethan, are publicly humiliated. Ethan and Simon bond about the difficulties they have faced coming out. After school, Martin tries to apologize to Simon, who angrily rejects the attempt.

text: After his parents reach out and comfort him, Simon apologizes to Leah, admitting he is in love with Blue. Leah helps him make amends with Nick and Abby, who are now a couple. Simon then posts a confession seeking out Blue and asking him to come forward. Waiting for Blue at the school carnival, Simon rides the Ferris wheel, drawing a large crowd of peers, until he runs out of tickets. Martin then comes forward and, to make amends, buys him one last ride. It is revealed then that Bram is Blue; the kiss Simon saw with the female student was a drunk misunderstanding. Simon and Bram ride the Ferris wheel together and kiss.

text: Simon’s life gradually returns to normal as Simon reconnects with his family and friends, and begins a relationship with Bram.

text: Cast[edit]

text:
Nick Robinson as Simon Spier

Bryson Pitts as 10-year-old Simon Spier
Nye Reynolds as 5-year-old Simon Spier

Josh Duhamel as Jack Spier, Simon's father
Jennifer Garner as Emily Spier, Simon's mother
Katherine Langford as Leah Burke, one of Simon's best friends
Alexandra Shipp as Abby Suso, one of Simon's best friends
Jorge Lendeborg Jr. as Nick Eisner, one of Simon's best friends
Keiynan Lonsdale as Abraham "Bram" Greenfeld, one of Simon's classmates
Miles Heizer as Cal Price, one of Simon's friends and classmates
Logan Miller as Martin Addison, one of Simon's classmates who blackmails him
Talitha Bateman as Nora Spier, Simon's sister

Skye Mowbray as 6-year-old Nora Spier

Tony Hale as Mr. Worth, the vice principal of the school Simon attends
Natasha Rothwell as Ms. Albright, Simon's drama teacher
Drew Starkey as Garrett Laughlin, one of Simon's classmates
Clark Moore as Ethan, one of Simon's classmates who is openly gay
Joey Pollari as Lyle, a flirty server at a local diner
Mackenzie Lintz as Taylor, one of Simon's classmates

text: Production[edit]

text: Principal photography began on March 6, 2017 in Atlanta, Georgia.[14] Filming officially ended on April 23, 2017.[15]

text: Soundtrack[edit]

text:
Love, Simon (Original Motion Picture Soundtrack)

Soundtrack album by Various Artists

Released
March 16, 2018

Genre
Soundtrack

Length
TBA

Label
Sony Music Entertainment

Singles from Love, Simon (Original Motion Picture Soundtrack)

"Love Lies"
Released: 14 February 2018

text: The soundtrack of the film includes music by Bleachers, Troye Sivan, Amy Shark, Brenton Wood, The 1975, Normani and Khalid, among others. The first track released from the soundtrack was "Alfie's Song (Not So Typical Love Song)" by Bleachers.[16][17]

text:
Love, Simon (Original Motion Picture Soundtrack)[17]

No.
Title
Writer(s)
Performed by
Length

1.
"Alfie's Song (Not So Typical Love Song)"

Jack Antonoff
Ilsey Juber
Harry Styles

Bleachers
3:01

2.
"Rollercoaster"

Antonoff
John Hill

Bleachers
3:12

3.
"Never Fall in Love"

Antonoff
Karen Marie Ørsted

Jack Antonoff and MØ

4.
"Strawberries & Cigarettes"

Troye Sivan
Antonoff
Alex Hope

Troye Sivan
3:21

5.
"Sink In"

Ben Berger
Julia Michaels
Ryan McMahon

Amy Shark
4:35

6.
"Love Lies"

Khalid Robinson
Normani
Charlie Handsome
Jamil "Digi" Chammas
Taylor Parks

Khalid and Normani
3:23

7.
"The Oogum Boogum Song"

Alfred Smith

Brenton Wood
3:07

8.
"Love Me"

Adam Hann
George Daniel
Matthew Healy
Ross MacDonald

The 1975
3:42

9.
"I Wanna Dance with Somebody (Who Loves Me)"

George Merrill
Shannon Rubicam

Whitney Houston
4:50

10.
"Someday at Christmas"

Ron Miller
Bryan Wells

Jackson 5
2:44

11.
"Wings"

Nini Fabi
Benjamin Gebert

Haerts
4:58

12.
"Keeping a Secret"

Bleachers
3:25

13.
"Wild Heart"

Antonoff
Hill

Bleachers
3:21

text: Charts[edit]

text:
Chart (2018)
Peak
position

Australian Albums (ARIA)[18]
82

Canadian Albums (Billboard)[19]
24

US Billboard 200[20]
37

text: Release[edit]

text: Love, Simon premiered at the Mardi Gras Film Festival on February 27, 2018, and also screened at the Glasgow Film Festival and the Melbourne Queer Film Festival.

text: The film was released in the United States and Canada on March 16, 2018, by 20th Century Fox, and is scheduled to be released internationally on various dates throughout 2018.[21]

text: Home video[edit]

text: The film became available to pre-order on home video on January 17, 2018, and is expected to be released in June 2018.[22][23]

text: Reception[edit]

text: Box office[edit]

text: Love, Simon held early preview screenings on March 9, a week before its official release, and grossed $800,000 from 927 theaters, which Deadline Hollywood considered "strong."[24] In the United States and Canada, the film was released alongside Tomb Raider and I Can Only Imagine, and was projected to gross $10–12 million from 2,401 theaters in its opening weekend.[25] The film made $4.6 million on its first day (including $850,000 from Thursday previews at 2,125 theaters).[26] The film went on to debut at $11.8 million, finishing fifth at the box office; 58% of its opening weekend audience was female and 59% was under 25.[27] In its second weekend the film dropped 33% to $7.8 million, finishing 7th.[28]

text: Critical response[edit]

text: On review aggregator website Rotten Tomatoes, the film holds an approval rating of 91%, based on 115 reviews, with an average rating of 7.5/10. The website's critical consensus reads, "Love, Simon hits its coming-of-age beats more deftly than many entries in this well-traveled genre – and represents an overdue, if not entirely successful, milestone of inclusion."[29] On Metacritic, the film has a weighted average score of 73 out of 100, based on 36 critics, indicating "generally favorable reviews".[30] Audiences polled by CinemaScore gave the film an average grade of "A+" on an A+ to F scale, one of fewer than 80 films in the history of the service to earn such a score.[26]

text: Benjamin Lee of The Guardian gave the film 4/5 stars, calling it a "hugely charming crowd-pleaser".[31] Pete Hammond of Deadline Hollywood gave the film 4/5 stars, stating that audiences "are guaranteed to fall in love with this sweet, funny coming-of-age film".[32]

text: Molly Freeman of Screen Rant gave the film 4/5 stars or an Excellent rating, stating that "Love, Simon is a funny, heartfelt, and truly touching teen romantic comedy that instantly becomes a modern classic for today's generation."[33] Josh Winning of GamesRadar+ gave the film 4/5 stars, describing it as a "warm, sensitive and engaging coming-out-of-ager" and "one of the freshest teen-coms in ages".[34]

text: Meredith Goldstein of The Boston Globe gave the film 3.5/4 stars and stated, "Love, Simon is a sweet, modern romantic comedy that manages to channel the teen movie classics of the late John Hughes, but only the good stuff."[35] Colin Covert of the Star Tribune gave the film 3/4 stars and wrote, "If John Hughes had gone on to make a smart LGBT coming-of-age charmer, most likely it would resemble this."[36]

text: Bruce Demara of the Toronto Star gave the film 3/4 stars, stating "The casting is high quality, the script - with a tantalizing mystery at its heart - is particularly well-crafted and the story hits all the right emotional notes in delivering a funny, warm-hearted and life-affirming tale."[37]

text: Kevin Scott of the Exclaim! gave the film a 7 out of 10 score, noting that the film has the "expected amount of sentimentality that effectively tugs at the heartstrings."[38]

text: Brian Truitt of USA Today gave the film 3.5/4 stars and wrote, "Young and old, jocks and nerds, geeks and freaks, and everyone in between should be able to find something to adore in Love, Simon."[39]

text: Joyce Slaton of Common Sense Media gave the film 4/5 stars and described it as "tender, sweet, and affecting", with the film also receiving The Common Sense Seal, which recognizes movies that offer families an exceptional media experience.[40][41] MJ Franklin of Mashable wrote that "Love, Simon feels like an instant classic that you're going to want to watch again and again."[42]

text: Peter Debruge of Variety, while stating that the film is average in execution, praised the content as "groundbreaking on so many levels, not least of which is just how otherwise familiar it all seems".[43] Jesse Hassenger of The A.V. Club gave the film a C+ and wrote that the film "is touching as a gesture", but as entertainment "it's nothing Degrassi hasn't done better".[44]

text: Becky Albertalli, the author of the book, watched an early cut and praised the film, stating: "It's funny and relevant and timeless and charming and honest and painful and so romantic. It says exactly what I wanted the book to say."[45][46]


question_text: where was pirates of the carribean on stranger tides filmed

text: Plot[edit]

text: This film's story occurs in 1750, set roughly sixteen years after At World's End (and six after its post-credits scene)

text: After a failed attempt to rescue his first mate, Joshamee Gibbs, in London, Captain Jack Sparrow is brought before King George II. The king wants Jack to guide an expedition to the Fountain of Youth before King Ferdinand and the Spanish Navy can locate it. Jack's old nemesis, Captain Hector Barbossa, now a privateer in service to the British Navy after losing his leg and ship, the Black Pearl, which he says was sunk, is heading the expedition.

text: Jack refuses the offer and escapes. He meets up with his father, Captain Teague, who warns Jack about the Fountain's rituals. Jack learns someone is impersonating him to recruit a crew to find the Fountain. The impostor is Angelica, Jack's former lover, and the daughter of the ruthless pirate Blackbeard, who practices voodoo magic and wields the mythical "Sword of Triton" that controls his ship, the Queen Anne's Revenge. While Jack is shanghaied aboard Blackbeard's ship, Gibbs escapes execution by memorizing and destroying Jack's map showing the Fountain's location, forcing Barbossa to take him along.

text: Meanwhile, after a failed mutiny aboard the Queen Anne's Revenge, Jack is forced to guide the crew to the Fountain. Blackbeard seeks the Fountain's power to circumvent his predestined fatal encounter with a "one-legged man", who happened to be Barbossa. Jack must find two silver chalices aboard Juan Ponce de León's missing flagship, the Santiago. The Fountain's water must simultaneously be drunk by two people from the chalices. Drinking from one chalice containing a mermaid's tear will extend life; the second person dies, their remaining years of life transferred to the other drinker. Jack also discovers that the Black Pearl was captured and shrunk before being added to Blackbeard's collection of other shrunken ships in bottles.

text: The Queen Anne's Revenge heads for Whitecap Bay to find and harvest mermaid tears. After managing to lure in a mermaid named Tamara, she summons other mermaids to attack the crew before Jack causes an explosion that scares them away. A mermaid named Syrena is caught, but Philip Swift, a captive missionary, falls in love with her. Reaching Ponce de León's ship on an uncharted island, Angelica and Blackbeard coerce Jack into retrieving both chalices. Jack locates the grounded, decaying vessel, only to find Barbossa there. Both guess that the Spanish have taken the chalices, after they are nowhere to be found on the vessel.

text: Jack and Barbossa team up to sneak into the Spanish camp and steal the chalices. Barbossa reveals he only wants revenge against Blackbeard for attacking the Black Pearl, and his leg being amputated. Jack and Barbossa escape with the chalices. Meanwhile, Syrena, reciprocating Philip's love, is tricked into shedding a tear. Blackbeard collects it, leaving her to die of dehydration while Philip is forced to go with them. Jack returns with the chalices and bargains with Blackbeard for Angelica's safety, Jack's confiscated magical compass (which they took from him before sending him to get the chalices), and Gibbs' release. In return, Jack vows to give Blackbeard the chalices and lead him to the Fountain; Blackbeard agrees, and Gibbs is set free with the compass.

text: At the Fountain, Blackbeard's crew is confronted by Barbossa and his men and they battle while Barbossa and Blackbeard fight. The Spanish suddenly arrive, intending to destroy the Fountain, believing its power an abomination against God. They crush the chalices and throw them in the swamp. When Barbossa stabs Blackbeard with a poisoned sword, Angelica pulls it out but is cut and poisoned. Jack notices Angelica is poisoned and begins frantically searching the swamp for the chalices. Barbossa obtains Blackbeard's magic sword and gains control of the Queen Anne's Revenge and her crew. Despite resistance from Blackbeard's crew, the Spanish successfully pull down a pillar, crushing the Fountain of Youth. The Spanish army leaves once the fountain is in ruins. Philip is mortally wounded, but he returns to free Syrena. She helps Jack retrieve the missing chalices and gives them to him, telling him not to waste her tear. Syrena goes back to the dying Philip. She says she can save him if he asks her to. When he asks for her forgiveness, she kisses him and takes him underwater.

text: With Blackbeard and Angelica both nearing death, Jack retrieves the last remaining drops of water from the destroyed fountain and puts the tear in one of them. Knowing that one of them must be sacrificed, he wants Angelica to drink from the chalice containing the tear. Instead, Blackbeard drinks it, asking his daughter to save him. Angelica agrees and drinks from the second chalice. Jack is upset to lose Angelica, but reveals that he made a mistake about which chalice contained the tear. Neither of the two are happy, and they both believe Jack deliberately tricked them. Angelica's wounds are healed as the Fountain fatally consumes Blackbeard's body.

text: Eventually, Jack and Angelica admit their love for each other, yet he distrusts her intentions (aware that she may try to avenge her father) and strands her on a cay. Now wielding Blackbeard's magical sword, Barbossa captains the Queen Anne's Revenge and returns to piracy. Jack finds Gibbs, who had used the compass to locate the Revenge. He reclaims the shrunken Black Pearl and the other conquered ships in bottles, carrying them in a gunny sack. The two leave, hoping to revert the Black Pearl to its original size and continue living the pirates life.

text: In a post-credits scene, a voodoo doll of Jack crafted by Blackbeard washes ashore and is found by Angelica, who then smiles.

text: Cast[edit]

text:
Johnny Depp as Captain Jack Sparrow: Former captain of the Black Pearl.
Penélope Cruz as Angelica: Jack's former love interest, and daughter of Blackbeard.
Geoffrey Rush as Captain Hector Barbossa: Jack's former-rival-turned-ally, and former captain of the Black Pearl.
Ian McShane as Captain Blackbeard: Legendary pirate, and captain of the Queen Anne's Revenge.
Kevin McNally as Joshamee Gibbs: Jack's friend, and former first mate.
Sam Claflin as Philip Swift: A missionary, kept prisoner aboard Blackbeard's ship.
Àstrid Bergès-Frisbey as Syrena: A mermaid captured by Blackbeard, and love interest of Swift.
Stephen Graham as Scrum: A self-serving member of Blackbeard's crew.
Greg Ellis as Lt. Cmdr. Theodore Groves: Barbossa's second-in-command, former second-in-command of Cutler Beckett and James Norrington's crew.
Damian O'Hare as Lt. Gillette, Barbossa's third-in-command, former second-in-command of James Norrington.
Óscar Jaenada as The Spaniard: King Ferdinand's most trusted agent.
Richard Griffiths as King George II
Keith Richards as Captain Edward Teague: Jack's father, former Pirate Lord of Madagascar, and keeper of the code of the Bretheren Court.
Gemma Ward as Tamara: A mermaid.
Judi Dench as Society Lady
Ian Mercer as the Quartermaster: A psychic who foresees Blackbeard's death.
Robbie Kay as the Cabin Boy
Christopher Fairbank as Ezekiel
Yuki Matsuzaki as Ghareg
Bronson Webb as The Cook
Steve Evets as Purser
Derek Mears as the Master-at-Arms
DeObia Oparei as the Gunner
Sebastian Armesto as King Ferdinand of the Spanish Empire
Anton Lesser as Lord John Carteret, Viscount Carteret, Baron Carteret of Hawnes, 2nd Earl of Granville
Roger Allam as Prime Minister Henry Pelham
Paul Bazely as Salaman: An Indian crew member of the Queen Anne's Revenge

text: Production[edit]

text: Development[edit]

text: Shortly before the premiere of At World's End, Jerry Bruckheimer stated it was the end of the trilogy, but the idea of a spin-off was still possible.[4] After the film's successful opening weekend, Dick Cook, then Chairman of the Walt Disney Studios, said he was interested in a fourth installment. Los Angeles Times also reported that rights to a book were bought.[5] Ted Elliott and Terry Rossio had started working on a script in 2007, but they were interrupted by the 2007–2008 Writers Guild of America strike, and only resumed in mid-2008.[6]

text: In June 2009, Bruckheimer indicated Disney would prefer the fourth installment of Pirates to be released before The Lone Ranger film, which he, Johnny Depp, Ted Elliott, and Terry Rossio had been working on for release on May 20, 2011. He hoped Gore Verbinski would return to direct the fourth film, as his BioShock film adaptation had been put on hold.[7] As Verbinski was unavailable due to his commitment with Rango the same year, Bruckheimer suggested Rob Marshall, who he considered a "premiere filmmaker", stating that "Every film [Marshall] made I thought was unique and different."[8] On July 21, 2009, Marshall accepted the job, because of the "whole new story line and set of characters. It felt new, and that was important to me."[6] Marshall said the film provided him a long-awaited opportunity to work with Depp, and that his directing was helped by his experience as a choreographer—"the action sequences felt like big production numbers."[9] On September 11, 2009, at Disney's D23 convention during a Disney event, Cook and Johnny Depp, in full Captain Jack Sparrow costume, announced that a fourth Pirates film was in development. The title was announced as Pirates of the Caribbean: On Stranger Tides.[10] Marshall visited the Pirates of the Caribbean ride in Disneyland for inspiration, eventually paying homage with a skeleton holding a magnifying glass in Ponce de León's ship. An appearance of "Old Bill", the pirate who tries to share his rum with a cat, was also filmed but cut.[11] Pintel and Ragetti were originally supposed to make an appearance, but director Rob Marshall opted out of the idea as he feared their roles would be cut.[12]

text: Cook resigned in September 2009 after working for Disney for over 38 years.[13] Depp's faith in Pirates of the Caribbean: On Stranger Tides was somewhat shaken after the resignation, with Depp explaining that "There's a fissure, a crack in my enthusiasm at the moment. It was all born in that office".[14] Depp also explained Cook was one of the few who accepted his portrayal of Jack Sparrow: "When things went a little sideways on the first Pirates movie and others at the studio were less than enthusiastic about my interpretation of the character, Dick was there from the first moment. He trusted me".[14]

text: Writing[edit]

text: During production of Dead Man's Chest and At World's End, writers Ted Elliott and Terry Rossio discovered Tim Powers' 1987 novel On Stranger Tides, which they considered a good foundation on which to base "a new chapter" in the Pirates series.[8] Disney bought the rights to the novel in April 2007.[15] Rossio stated that he and Elliot had considered using Blackbeard and the Fountain of Youth in the story before reading the book, "but whenever you say those words, Powers' novel comes to mind. There was no way we could work in that field without going into territory Tim had explored." However, they denied that it would be a straight version of the novel: "Blackbeard came from the book, and in the book there is a daughter character, too. But Jack Sparrow is not in the book, nor is Barbossa. So I wouldn't call this an adaptation."[6] Rossio declared the script was written to be a standalone film, "kind of a James Bond sort of thing", instead of the "designed to be a trilogy" structure of the previous installments.[16] They hoped to "design a story that would support new characters," as characters such as Will Turner would not return.[17] Bruckheimer added that there was a decision to "streamline the story a little bit, make it a little simpler and not have as many characters to follow", as the number of characters and subplots in At World's End caused the film to have an unwieldy length.[8] The duo decided to employ another sea myth alluded in the previous episodes: mermaids,[16] which are briefly referenced in the book. The mermaids' role expanded in the script, which included a vast attack sequence.[17]

text: Depp was deeply involved with the story design, frequently meeting the writers to show what he was interested in doing, and in the words of Rossio, being "involved in coming up with story lines, connecting characters, creating moments that we would then fashion, shape and then go back."[16] Among Depp's suggestions were turning Phillip into a missionary and having a Spanish contingent following the protagonists. Afterwards, Rob Marshall and executive producer John DeLuca met Rossio and Elliot, and did alterations of their own, including building the female lead.[17]

text: Casting[edit]

text: Depp signed on to return as Captain Jack Sparrow in September 2008, saying that he would come back if the script was good.[18] Almost a year later, Disney announced that Depp would be paid $55.5 million for his role, realizing that without him the franchise would be "dead and buried."[19] Geoffrey Rush expressed interest in returning to his role as Barbossa,[20] and Bruckheimer later confirmed his presence.[21] Rush was positive on Barbossa having lost a leg, as he considered the disability made him "angrier, more forceful and resilient as a character", and had to work with the stunt team for an accurate portrayal of the limp and usage of crutch, particularly during sword fighting scenes.[22] While the production team considered a prop pegleg to be put over Rush's leg, the tight schedule caused it to be replaced with a blue sock that was replaced digitally, with a knob on the shoe to give Rush a reference for his walk.[23] Three other actors from the previous films returned, Kevin McNally as Joshamee Gibbs, Greg Ellis as Lt. Theodore Groves,[24] and Damian O'Hare as Lt. Gilette.[25] Keith Richards also had a cameo, reprising his role as Captain Teague from At World's End; he and Depp tried to persuade Mick Jagger to audition for the part of a pirate elder.[26] Previous cast members Orlando Bloom and Keira Knightley stated that they would not reprise their roles, as they wanted to be involved in different films. They both thought the storyline involving their characters had gone as far as it could.[27][28][29] On August 1, 2009, Bill Nighy expressed his desire to return as Davy Jones, who died in the previous film, saying the possibility to resurrect the character, but at the end, his inclusion was scrapped.[30][31] On February 5, 2010, Mackenzie Crook also announced he would not be reprising his role of Ragetti, stating, "They haven't asked me. But actually I don't mind that at all. I'm a fan of the first one especially and I think the trilogy we've made is great. I'd almost like them to leave it there."[32]

text: New cast members include Ian McShane, who plays the notorious pirate and primary antagonist of the film, Blackbeard, and Penélope Cruz, who plays Angelica, Jack Sparrow's love interest.[21] According to Marshall, McShane was chosen because "he can play something evil but there's always humor behind it as well" and the actor accepted the job due to both the "very funny and charming" script and the opportunity to work with Marshall.[33] The beard took one hour and a half to get applied, and McShane likened the character's costume to "a real biker pirate—it's all black leather.”[34] Marshall said Cruz was the only actress considered for the role, as she fit the description as "an actress who could not only go toe to toe with Johnny and match him, but also needed to be all the things that Jack Sparrow is in a way. She needed to be funny and clever and smart and crafty and beautiful",[9] and invited her for the role as they wrapped the production of Nine.[23] The actress spent two months working out and learning fencing for the role.[35] During filming, Cruz discovered she was pregnant, leading the costume department to redesign her wardrobe to be more elastic,[23] and the producers to hire her sister Mónica Cruz to double for Penélope in risky scenes.[36] Depp recommended Stephen Graham, who worked with him in Public Enemies, to play Scrum, a Machiavellian pirate and sidekick to Jack Sparrow,[37][38] and Richard Griffiths for the role of King George II, as Depp was a fan of Griffiths' work on Withnail and I.[23] Sam Claflin, a recent drama school graduate with television experience, was chosen to play the missionary Philip,[39] and British actor Paul Bazely also joined the cast.[40] Spanish news website El Pais reported that the film had four Spanish actors: Cruz, Bergès-Frisbey, Óscar Jaenada, and Juan Carlos Vellido.[41] Jaenada was picked for both his work in The Losers and a recommendation by Cruz.[42]

text: Casting for mermaids required the actresses to have natural breasts—no implants. As Bruckheimer explained to EW, "I don't think they had breast augmentation in the 1700s, [...] So it's natural for casting people to say, 'We want real people.'"[43] Marshall invited Spanish-French actress Àstrid Bergès-Frisbey to play Syrena after seeing her in a French magazine article on up-and-coming actresses.[22] Bergès-Frisbey had to take lessons of English, swimming and breath control for the role.[44] The rest of the mermaid portrayers, such as Australian supermodel Gemma Ward,[45] were chosen for having "exotic sense, an otherworldly sensibility, but also under those layers a deadly quality", according to Marshall, and had to take swimming lessons to learn movements such as the dolphin and eggbeater kicks.[46]

text: Filming[edit]

text: Principal photography began on June 14, 2010, in Hawaii.[17][47] Filming was moved to California in August 2010,[48] primarily at the Long Beach shore[33] and a recreation of Whitecap Bay done in the Universal Studios backlot,[17] as the original Hawaiian location on Halona Cove was plagued with strong tides.[22] After a brief shoot in Puerto Rico,[33] with locations in both Palomino Island and the Fort of San Cristóbal in San Juan,[49] production moved to the United Kingdom in September, where principal photography wrapped on November 18 after 106 days of shooting.[17] Locations included Hampton Court Palace in London,[23] Knole House in Kent,[33] and Old Royal Naval College at Greenwich.[50] Interiors were shot at London's Pinewood Studios, and a replica of an 18th-century London street was built on the backlot alongside the soundstages.[33][51] The producers also considered using New Orleans as a location.[52] In October, security was breached at the UK site when a celebrity impersonator gained access to filming at the Old Royal Naval College by dressing up as Captain Jack.[53]

text: After the joint production of Dead Man's Chest and At World's End cost over $300 million, Disney decided to give a lower budget to the fourth installment.[54] Many costs had to be cut, including moving primary production to Hawaii and London, where tax credits are more favorable, and having a shorter shooting schedule and fewer scenes featuring special effects compared to At World's End.[55] The tighter schedule—according to Bruckheimer, "We had a 22-week post, and for a picture like this, with almost 1,200 visual effects shots, it's usually 40 weeks"—meant that Marshall supervised editing of sequences during filming.[17] The British financial statements of the film revealed total expenditures of £240.7 million ($410.6 million) by 2013, with Disney receiving a rebate of $32.1 million from the British government, making Pirates of the Caribbean: On Stranger Tides the most expensive film ever made to date.[2]

text: Bruckheimer said the decision to film in 3D was made due to its being "immersive filmmaking; I think it makes you part of the actual filming because you're part of the screen." Bruckheimer described it as the first major "exterior movie" to be shot in 3D, as Avatar was mostly done in sound stages.[8] At first Marshall was not much interested in 3D, but the director eventually considered it a film that could benefit from the format. "You are on an adventure and with the 3D experience you are inside that adventure."[9] While the original plan was to add 3D effects during post-production, the decision was made to shoot digitally with 3D cameras. Only one sequence was shot conventionally and needed a 3D conversion.[8] The cameras were improved versions of the ones James Cameron developed for Avatar, which were made more compact for extra mobility. This meant the cameras could be brought into locations such as the Hawaiian jungle.[56]

text: The Queen Anne's Revenge was built atop the Sunset, the same ship used to depict the Black Pearl in previous installments. On February 2010, the Sunset was sailed from Long Beach to a shipyard in Hawaii for the reforms, where a big concern was to make it imposing, with three stories, without sacrificing actual seakeeping. Given Blackbeard was meant to be the meanest pirate to appear in the series, the look for the Queen Anne's Revenge was ominous, with sails dyed blood red, various elements on fire, and a decoration based on skulls and bones (drawing inspiration from the Sedlec Ossuary in Czech Republic). Damage from cannon fire was also added to show that "not only Blackbeard was a dying man, but his ship is also a dying ship". The ship's figurehead also drew inspiration from Blackbeard's pirate flag.[57] The replica ship HMS Surprise was used for Barbossa's ship, the HMS Providence,[58] and all the scenes aboard the Providence were shot on the Long Beach shore as the Surprise could not be sailed to Hawaii.[23] Over 50 designs were considered for the Fountain of Youth, with the final one representing a temple built by an ancient civilization around the Fountain, which itself was located in a round rocky structure to represent "the circle of life". The locations leading up to the Fountain were shot in the Hawaiian islands of Kauai and Oahu, but the Fountain itself was built at the 007 Stage on Pinewood.[59]

text: Effects[edit]

text: On Stranger Tides employed 1,112 shots of computer-generated imagery,[17] which were done by ten visual effects companies.[60] Cinesite visual effects supervisor Simon Stanley-Clamp claimed that the most difficult part was doing the effects in 3D: "Rotoscoping is tricky. Cleaning up plates is double the work, and tracking has to be spot on."[50] The lead companies, with over 300 effects each, were Industrial Light & Magic—responsible for, among others, the mermaids and most water effects[61]—and Moving Picture Company, who created digital ships and environment extensions, such as changing weather and designing cliffs and waterfalls.[62] Filming the mermaids involved eight model-actresses, who portrayed them outside the water, as well as 22 synchronized swimming athletes and a group of stuntwomen, both of whom wore motion capture suits to be later replaced by digital mermaids. Mermaid corpses were depicted by plaster models.[33][46] The design tried to avoid the traditional representations of mermaids in paintings and literature, instead going for a scaly body with a translucent membrane inspired by both jellyfish and the fabric employed in ballet tutus. To make the mermaids more menacing underwater, the faces of the actresses had some digital touch-ups on the underwater scenes, adding sharper teeth and a shimmery fish scale quality on the skin.[63] ILM also handled Blackbeard's death, where Ian McShane's actual performance was covered by digital doubles which turned him into a "boiling mass of blood and clothing", and a hurricane-like formation that represented "the waters of the Fountain taking his life".[59] Cinesite handled the recreation of London and Barbossa's peg leg,[50] CIS Hollywood did 3D corrections and minor shots, and Method Studios created matte paintings.[64]

text: Music[edit]

text: The film's score was written by Hans Zimmer, who had worked in all of the previous entries in the franchise; being the main composer for the second and third installments.[65] Zimmer said that he tried to incorporate a rock n' roll sound, as he felt "pirates were the rock 'n' rollers of many, many years ago",[66] and Spanish elements, which led to a collaboration with Mexican guitarists Rodrigo y Gabriela and a tango song written by Penélope Cruz's brother Eduardo.[67] American composer Eric Whitacre contributed several choir-based cues,[67][68] as well as regular assistant Geoff Zanelli.[65]

text: Release[edit]

text: On January 6, 2010, Disney announced that the film would be released in the United States and Canada on May 20, 2011, following Columbia Pictures' announcement of a delay in the Spider-Man reboot and Paramount Pictures slating Thor for May 6, 2011.[69] The film was released in IMAX 3D, as well as traditional 2D and IMAX format,[70][71] with Dolby 7.1 surround sound.[72] This film was also the first film to be released in the 4DX motion theaters in Mexico and in the Western Hemisphere, featuring strobe lights, tilting seats, blowing wind and fog and odor effects.[73] It is available exclusively at select Cinépolis cinemas.[74]

text: The world premiere of On Stranger Tides was on May 7, 2011, at a premium ticket screening at Disneyland in Anaheim, California, home of the original Pirates of the Caribbean ride that inspired the film series. Many of the film's stars were in attendance. Two other early screenings followed, one in Moscow on May 11,[75] and another during the Cannes International Film Festival on May 14.[76] The international release dates fell within May 18 and 20, with opening dates in the United Kingdom on May 18, in Australia on May 19, and in North America on May 20.[77][78][79][80] The film was released on a then-record 402 IMAX screens, 257 screens in North America, and 139 in other territories.[81] The total number of theaters was 4,155 in North America and 18,210 worldwide.[82][83]

text: Promotion[edit]

text: Disney's marketing president, MT Carney, said that the film's advertising campaign was intended "to remind people of why they fell in love with Jack Sparrow in the first place and also introduce new elements in a way that was elegant".[17] Sony Pictures' former marketing president, Valerie Van Galder, was hired as a consultant.[84] The first footage from the film appeared on Entertainment Tonight on December 4, 2010.[85] Three trailers were released,[17] one in December, which had a 3D version included with the release of Tron: Legacy[71] and broadcast by ESPN 3D;[86] a Super Bowl XLV spot on February 2011, which was later released online in an extended version;[87] and a final trailer in March that focused more on the plot than the previous trailer and commercials.[88]

text: Promotional tie-ins included Lego Pirates of the Caribbean toy sets and a related video game,[89][90] a cell phone app by Verizon Wireless,[91] a special edition of Pirate's Booty,[92] lines of nail polish by OPI,[93] clothing from Hot Topic,[94] and jewelry from Swarovski.[95] Goldline International produced replicas of the "Pieces of Eight" coins from the movies and gold Mexican Escudo coins, which were given in sweepstakes at the El Capitan Theatre.[96] At Disney California Adventure Park, the Pirates of the Caribbean segment of the World of Color show was extended to include visual clips and music from On Stranger Tides.[97]

text: Home media[edit]

text: The film was released on DVD and Blu-Ray on September 12, 2011 in the UK, topping both the Blu-ray and DVD sales charts during its first two weeks. The film had its high-definition home release on October 18, 2011 in the United States and Canada. Three different physical packages were made available: a 2-disc combo pack (Blu-ray and DVD), a 5-disc combo pack (2-disc Blu-ray, 1-disc Blu-ray 3D, 1-disc DVD, and 1-disc Digital Copy), and a 15-disc collection featuring all four Pirates movies. On Stranger Tides was also released as a movie download in both high definition and 3D.[98][99][100] The regular DVD edition came out on December 6.[101]

text: In its first week of release, it sold 1.71 million Blu-ray units and generated $48.50 million, topping the weekly Blu-ray chart. However these results were quite skewed due to the one-month delay of its DVD-only release.[102] It sold 3.20 million Blu-ray units ($83.46 million) after 11 weeks.[103] It has also sold 1.12 million DVD units ($19.32 million).[104] Upon its television premiere on December 29, 2013 in the UK on BBC One, it was watched by a total of 5.4 million viewers, making it the third-most watched program that night, according to overnight figures.[105]

text: Reception[edit]

text: Box office[edit]

text: On Stranger Tides earned $241,071,802 in the North America and $804,642,000 in other countries for a worldwide total of $1,045,713,802.[106] It is the 22nd highest-grossing film worldwide, the third-highest-grossing 2011 film, the second-most successful installment of the Pirates of the Caribbean series, the eleventh-highest-grossing Disney feature and the second-highest-grossing fourth film in a franchise (behind Transformers: Age of Extinction).[107] On its worldwide opening weekend, it grossed $350.6 million, surpassing At World's End's $344 million opening as best in the series and ranking as the seventh-highest worldwide opening.[108] It scored an IMAX worldwide opening-weekend record with $16.7 million[109] (first surpassed by Transformers: Dark of the Moon).[110]

text: It set records for the least time to reach $500, $600, and $700 million worldwide (in 10, 12 and 16 days, respectively).[111][112][113] The first of these records was first surpassed by Dark of the Moon[114] and the other two by Harry Potter and the Deathly Hallows – Part 2.[115] After 46 days in theaters (July 2, 2011), it became the eighth film in cinema history and the fourth film released by Walt Disney Studios to cross the $1-billion-mark.[116] It set a record for the fastest Disney-distributed film to reach the milestone (first surpassed by Marvel's The Avengers)[117] and it is the fifth-fastest film overall to achieve this.[118]

text: North America[edit]

text: During its Thursday-midnight showings, On Stranger Tides earned $4.7 million from 2,210 theaters,[119] and $34,860,549 in total on its opening day.[120] It earned $90,151,958 on its opening weekend, topping the weekend box office, but earning much less than its two immediate predecessors (At World's End – $114.7 million and Dead Man's Chest – $135.6 million) and the directly preceding Johnny Depp spectacle (Alice in Wonderland – $116.1 million).[121] 3D showings accounted for only 46% of its opening-weekend gross.[122] It closed on September 29, 2011, with a $241.1 million gross, ranking as the fifth-highest-grossing film of 2011[123] and the least profitable film of the franchise.[124] However, it was the top-grossing movie during May 2011 (with $166.8 million by May 31).[125]

text: Outside North America[edit]

text: Outside North America, On Stranger Tides is the sixth-highest-grossing film,[126] the third-highest-grossing Disney film,[127] the second-highest-grossing 2011 film and the highest-grossing film of the Pirates of the Caribbean series.[128] It is the highest-grossing Pirates film in at least 58 territories.[116]

text: During its opening day (Wednesday, May 18, 2011), On Stranger Tides made $18.5 million from 10 territories.[129] It added 37 territories and $25.7 million on Thursday, for a two-day total of $44.2 million,[130] and on Friday, it expanded to almost all countries, earning $46.2 million for a three-day total of $92.1 million.[131] On its five-day opening weekend as a whole, it earned a then-record $260.4 million from 18,210 screens in more than 100 territories, in all which it reached first place at the box office.[132] The record debut was surpassed later in the same summer season by Deathly Hallows Part 2.[133] Earnings originating from 3-D showings accounted for 66% of the weekend gross, which was a much greater share than in North America.[122] Its highest-grossing countries during its first weekend were Russia and the CIS ($31.42 million including previews),[134] China ($22.3 million)[135] and Germany ($20.53 million).[136][137] It dominated for three weekends at the overseas box office despite competition from The Hangover Part II, Kung Fu Panda 2, and X-Men: First Class.[138][139] It reached the $300, $400 and $500-million-mark at the box office outside North America in record time (7, 11 and 14 days respectively), records first surpassed by Deathly Hallows – Part 2.[116][140][141]

text: On Stranger Tides set opening day records in both Russia (including the CIS) and Sweden.[129] Subsequently, it set opening-weekend records in Latin America, the Middle East, Russia, Norway, Ukraine and Turkey,[83] still retaining the record in Russia ($26.8 million)[142] and Ukraine ($2.15 million).[143] Its highest-grossing market after North America is Japan ($108.9 million), followed by China ($71.8 million)[144] and Russia and the CIS ($63.7 million).[145] It is the highest-grossing film of 2011 in Russia and the CIS,[146] Austria,[147] Ukraine,[148] Greece,[149] Portugal and Angola,[150] South Africa,[151] Romania,[152] Bulgaria,[153] Egypt,[154] Estonia,[155] and Latvia.[145][156]

text: Critical reception[edit]

text: Review aggregation website Rotten Tomatoes gives the film an approval rating of 33% based on 259 reviews, with an average rating of 5/10. The site's critical consensus reads, "It's shorter and leaner than the previous sequel, but this Pirates runs aground on a disjointed plot and a non-stop barrage of noisy action sequences."[157] Metacritic, which assigns a weighted average rating to reviews, gives the film an average score of 45 out of 100, based on 39 critics, indicating "mixed or average reviews".[158] CinemaScore polls reported that the average grade moviegoers gave the film was a "B+" on an A+ to F scale.[82]

text: Roger Ebert gave On Stranger Tides two out of four stars, saying that although the removal of Knightley and Bloom as well as the addition of Cruz were positive aspects, the film in general was "too much of a muchness" for him.[159] Tom Long of The Detroit News gave a D+, saying that Jack Sparrow had "worn out his welcome". Despite the more linear plot, "the movie is still ridiculous". He found On Stranger Tides to be "precisely what you'd expect of the fourth installment of a movie based on an amusement park ride: a whole lot of noise, plenty of stunts and complete silliness."[160] British film critic Mark Kermode gave the film an overwhelmingly negative review on his 5 Live show, saying "it's not as staggeringly misjudged as the third part, because it is just nothing, it is just a big empty nothing, whereas part three I think was an active atrocity, it's just nothing at all".[161]

text: As with the previous films, the plot was criticized as incoherent and confusing. The Arizona Republic critic Bill Goodykoontz rated the film two out of five, stating that "the movie is a series of distractions tossed together in the hopes that they will come together in a coherent story. That never really happens."[162] Online reviewer James Berardinelli considered the script "little more than a clothesline from which to dangle all of the obligatory set pieces",[163] and USA Today's Claudia Puig found On Stranger Tides "familiar and predictable...often incoherent and crammed with pointless details."[164]

text: Mike Scott from The Times-Picayune mentions that "while this latest chapter isn't quite sharp enough to restore the sense of discovery that made that first outing so darn exciting, it's enough to make up for most of the missteps that made the third one so darn arrgh-inducing."[165] Writing for The A.V. Club, Tasha Robinson described On Stranger Tides as "a smaller film than past installments, by design and necessity", and felt that "the series has needed this streamlining" as the film "feels lightweight, but that's still better than bloated."[166]

text: On Stranger Tides also had positive reviews; some critics found the film to be entertaining and well-made. Richard Roeper gave the film a B+, describing it as "the most fun installment since the first", calling the story "pure cartoon, but a lot easier to follow than the other sequels", and summing as "the franchise is getting tired, but Penelope energizes it."[167] Along the same lines, Ann Hornaday of The Washington Post gave the film three out of four stars, writing that it "feels as fresh and bracingly exhilarating as the day Jack Sparrow first swashed his buckle, infusing new reckless energy into a franchise that shows no signs of furling its sails". She said that Marshall "swiftly and without fuss delivers the action set pieces and eye-popping escapism" and praised Depp, Cruz, and McShane's performances.[168] Ray Bennett from The Hollywood Reporter considered that Marshall "shows terrific flair with all the usual chases and sword fights, and he handles the 3D well", and welcomed Penélope Cruz's character, saying she "brings her Oscar-winning vivacity" and had "lively sexual tension" with Depp.[169] Writing for The Globe and Mail, Rick Groen found the action scenes to range from "merely competent to tritely cluttered", but he was pleased with the overall result, calling McShane a "fresh villain" whose "stentorian tones are welcome anywhere".[170] Variety's Andrew Barker considered the film derivative, but accessible. "It has nary an original idea and still doesn't make much sense, but it's lost all pretensions that it should". He praised Geoffrey Rush, stating that he "not only gets the funniest lines and reaction shots, but also starts to siphon away much of the roguish charm that used to be Depp's stock and trade."[168]

text: Accolades[edit]

text: The film was nominated for four Teen Choice Awards: Sci-Fi/Fantasy Movie, Sci-Fi/Fantasy Actor, Sci-Fi/Fantasy Actress, and Villain.[171] Its trailer and TV spot were nominated for Golden Trailer Awards.[172] The film won Best Movie for Mature Audiences Award at the 2012 Movieguide Awards.[173]

text: Sequel[edit]

text: On May 29, 2013, it was announced that Kon-Tiki directors Joachim Rønning and Espen Sandberg would be directing Pirates of the Caribbean: Dead Men Tell No Tales.[174][175]

text: While earlier reports stated Dead Men Tell No Tales would be released between 2015 and 2016,[176] Disney announced in 2014 that the film would enter theaters on July 2017.[177] Production began in late February 2015 in Australia.[178]