document_title: Baker's cyst

question_text: where does a baker's cyst come from

question_tokens: where does a baker 's cyst come from

text: Baker's cyst

text: Cause[edit]

text: In adults, Baker's cysts usually arise from almost any form of knee arthritis (e.g., rheumatoid arthritis) or cartilage (particularly a meniscus) tear. Baker's cysts in children do not point to underlying joint disease. Baker's cysts arise between the tendons of the medial head of the gastrocnemius and the semimembranosus muscles. They are posterior to the medial femoral condyle.

text: The synovial sac of the knee joint can, under certain circumstances, produce a posterior bulge, into the popliteal space, the space behind the knee. When this bulge becomes large enough, it becomes palpable and cystic. Most Baker's cysts maintain this direct communication with the synovial cavity of the knee, but sometimes, the new cyst pinches off. A Baker's cyst can rupture and produce acute pain behind the knee and in the calf and swelling of the calf muscles.

text: Diagnosis[edit]

text: Diagnosis is by examination. A Baker's cyst is easier to see from behind with the patient standing with knees fully extended. It is most easily palpated (felt) with the knee partially flexed. Diagnosis is confirmed by ultrasonography, although if needed and there is no suspicion of a popliteal artery aneurysm then aspiration of synovial fluid from the cyst may be undertaken with care. An MRI image can reveal presence of a Baker's cyst.

text: An infrequent but potentially life-threatening complication, which may need to be excluded by blood tests and ultrasonography, is a deep vein thrombosis (DVT). Quick assessment of the possibility of DVT may be required where a Baker's cyst has compressed vascular structures, causing leg edema, as this sets up conditions for a DVT to develop.

text: A burst cyst commonly causes calf pain, swelling and redness that may mimic thrombophlebitis.

text: Treatment[edit]

text: Baker's cysts usually require no treatment unless they are symptomatic. It is very rare that the symptoms are actually coming from the cyst. In most cases, there is another disorder in the knee (arthritis, meniscal (cartilage) tear, etc.) that is causing the problem. Initial treatment should be directed at correcting the source of the increased fluid production. Often rest and leg elevation are all that is needed. If necessary, the cyst can be aspirated to reduce its size, then injected with a corticosteroid to reduce inflammation. Surgical excision is reserved for cysts that cause a great amount of discomfort to the patient. A ruptured cyst is treated with rest, leg elevation, and injection of a corticosteroid into the knee.

text: Baker's cysts in children, unlike in older people, nearly always disappear with time, and rarely require excision.[citation needed]

text: Ice pack therapy may sometimes be an effective way of controlling the pain related to Baker's cyst.[citation needed] Heat is also commonly used.[citation needed] A knee brace can offer support giving the feel of stability in the joint.[citation needed]

text:
Rest and specific exercise
Many activities can put strain on the knee, and cause pain in the case of Baker's cyst. Avoiding activities such as squatting, kneeling, heavy lifting, climbing, and even running can help prevent pain. Despite this, some exercises can help relieve pain, and a physiotherapist may instruct on stretching and strengthening the quadriceps and/or the patellar ligament.[citation needed]

text: Gallery[edit]

text:
Baker's cyst (popliteal cyst) is located behind the knee and is a swelling of the popliteal bursa. In this image, the Baker's cyst is the yellowish bulbous tissue which was identified during routine dissection.

Baker's cyst on axial MRI with communicating channel between the semimebranosus muscle and the medial head of the gastrocnemius muscle.

Baker's cyst on MRI, sagittal image

Baker's cyst on MRI, sagittal image


document_title: Fast & Furious 6

question_text: who died from the movie fast and furious

root

text: Fast & Furious 6

text: Plot[edit]

text: Following their successful heist in Brazil, Dominic "Dom" Toretto and his professional criminal crew have fled around the world: Dom lives with Elena; his sister Mia lives with Brian O'Conner and their son, Jack; Gisele and Han live together; and Roman and Tej live in luxury. Meanwhile, DSS agent Luke Hobbs and Riley Hicks investigate the destruction of a Russian military convoy by a crew led by former British SAS Major and special ops soldier Owen Shaw. Hobbs persuades Dom to help capture Shaw by showing him a photo of the supposedly long-dead Letty Ortiz, Dom's former lover. Dom and his crew accept the mission in exchange for their amnesty, allowing them to return to the United States.

tag: p

text: In London, Shaw's hideout is found, but this is revealed to be a trap, distracting them and the police while Shaw's crew performs a heist at an Interpol building. Shaw flees by car, detonating his hideout and disabling most of the police, leaving Dom, Brian, Tej, Han, Gisele, Hobbs, and Riley to pursue him. Letty arrives to help Shaw, shooting Dom without hesitation before escaping. Back at their headquarters, Hobbs tells Dom's crew that Shaw is stealing components to create a deadly device, intending to sell it to the highest bidder. Meanwhile, Shaw's investigation into the opposing crew reveals Letty's relationship with Dom, but she is revealed to be suffering from amnesia. Dominic's crew learns that Shaw is connected to a drug lord who was imprisoned by Brian, Arturo Braga. Brian returns to Los Angeles as a prisoner to question Braga, who says Letty survived the explosion that seemingly killed her; Shaw took her in after discovering her amnesia. With FBI help, Brian is released from prison, regrouping with the team in London.

text: Dom challenges Letty in a street racing competition; afterwards, he returns her cross necklace he had kept. After Letty leaves, Shaw offers Dom a chance to walk away, threatening to otherwise hurt his family, but Dom refuses. Tej tracks Shaw's next attack to a Spanish NATO base. Shaw's crew assaults a highway military convoy carrying a computer chip to complete his deadly device. Dom's crew interferes while Shaw, accompanied by Letty, commandeers a tank, destroying cars en route. Brian and Roman manage to flip the tank before it causes further damage, resulting in Letty being thrown from the vehicle and Dom risking his life to save her. Shaw and his crew are captured, but reveal Mia has been kidnapped by Shaw. Hobbs is forced to release Shaw, and Riley, revealed to be Shaw's covert accomplice, leaves with him; Letty chooses to remain with Dom.

text: Shaw's group board a large moving aircraft on a runway as Dom's crew gives chase. Dom, Letty, and Brian board the craft; Brian rescues Mia, escaping in an onboard car. The plane attempts to take-off, but is held down by excess weight as the rest of the team tether the plane to their vehicles. Gisele sacrifices herself to save Han from Shaw's henchman, who Han kills, Letty kills Riley and escapes to safety, but Dom pursues Shaw and the computer chip. As the plane crashes into the ground, Shaw is thrown from it, seriously injuring him, and Dom drives a car out of the exploding plane. Dom reunites with his crew, and gives the chip to Hobbs to secure their pardons. Dom and the others return to his old family home in Los Angeles. Hobbs and Elena, now working together, arrive to confirm the crew's freedom; Elena accepts that Dom loves Letty. As Roman says grace over the crew's meal, Dom asks Letty if the gathering feels familiar; she answers "no, but it feels like home."

text: In a mid-credits scene, which takes place in Tokyo, Han is involved in a car chase when he is suddenly broadsided by an oncoming car. The driver walks away from the scene after leaving Letty's cross necklace by the crash, and calls Dom as Han's car fatally explodes, saying, "You don't know me. You're about to."

text: Cast[edit]

text:
Vin Diesel as Dominic Toretto, a former criminal, and professional street racer who has retired after their successful heist of $100 million with his crew in Brazil and is now staying with Elena.
Paul Walker as Brian O'Conner, a former FBI agent turned criminal and professional street racer who has retired and settled down with his wife, Mia, and their son, Jack.
Dwayne Johnson as Luke Hobbs, a Diplomatic Security Service (DSS) agent who allies with Dom following his last encounter with Dom and his team in Rio de Janeiro.
Michelle Rodriguez as Letty Ortiz, Dom's Wife who has suffered from amnesia and was presumed dead in Fast & Furious until she was found by Shaw. She has amnesia and is working alongside his crew, but later chooses to remain with Dom and his team.
Jordana Brewster as Mia Toretto, Dom's sister, a former member of his team, and Brian's wife.
Tyrese Gibson as Roman Pearce, a former criminal from Barstow and Brian's childhood friend, as well as a member of Dom's team.
Chris "Ludacris" Bridges as Tej Parker, an ex-street racer and mechanic, as well as Brian and Roman's friend who was introduced in Miami, also a member of Dom's team.
Sung Kang as Han Seoul-Oh, a professional street racer and Dom's former business partner in the Dominican Republic, also a member of his team. He is in a relationship with Gisele.
Gal Gadot as Gisele Yashar, a former Mossad agent who previously worked as a liaison for Braga and aided Dom and Brian in capturing him by revealing his hideout in Mexico. She has since become one of the members on Dom's team. She is also in a relationship with Han.
Luke Evans as Owen Shaw, a former British SAS soldier who leads a group of skilled mercenaries to steal high-tech devices worth billions on the black market. He hijacked a military convoy, which brings him into conflict with Dom.
Gina Carano as Riley Hicks, a DSS agent who partners up with Hobbs to take down Shaw's mercenaries. She is later revealed to be Shaw's double agent who secretly helps Shaw and his team escape custody during his chase in Spain.
John Ortiz as Arturo Braga, an ex-drug lord who was imprisoned by Brian, who is revealed to have a connection to Shaw after his last encounter with Brian.
Shea Whigham as Stasiak, a sarcastic FBI agent and Brian's former colleague who was formerly at odds with Brian.
Elsa Pataky as Elena Neves, a former Rio police officer who has moved into the United States, since becoming Dom's love interest and later working alongside Hobbs as his new partner in the DSS.
David Ajala as Ivory, a member of Shaw's team, who is a lethal killer alongside Jah. While attempting to flee on his motorcycle, he is shot dead by Gisele.
Kim Kold as Klaus, a member of Shaw's team who is a body builder and strongman, as well as a hacker at ease.
Thure Lindhardt as Firuz, a member of Shaw's team, who works as a mechanic, providing Shaw's team with flip cars and harpoon guns. He is killed in a shootout while trying to kill Gisele and Riley.
Joe Taslim as Jah, a member of Shaw's team who is cold-blooded and skilled with martial arts and parkour during his fight with Han and Roman.
Clara Paget as Vegh, Shaw's right-hand woman, and a highly trained female assassin in his team.
Benjamin Davies as Adolfson, a member of Shaw's team, who acts as a sniper and infiltrator, providing cover for his team while allowing the others to escape.

tag: ul

text: Rita Ora has an uncredited cameo role in the film.[4] Jason Statham appears uncredited in a cameo scene amid the end credits.[5]

text: Production[edit]

text: Development[edit]

text: In February 2010, Diesel confirmed that production of Fast Five was commencing and also announced that a sixth installment was being planned.[6] In January 2011, producer Neal H. Moritz said more:[7]

text: In Vin and my mind we already know what the sixth movie is, we’ve already been talking about it. Vin and I have had numerous conversations about what that might be. And we’re starting to get serious about it right now. We just finished [Fast Five] like 4 or 5 weeks ago and we just needed a break, and now we’re gonna start focusing on that.

text: In April 2011 it was confirmed that Chris Morgan had already begun work on a script for a potential sixth film at the behest of Universal Studios.[8]  It was also confirmed that Universal intended to transform the series from street-racing action into a series of heist films with car chases in the vein of The Italian Job (1969) and The French Connection (1971), with Fast Five as the transitional movie.[8] Universal chairman Adam Fogelson said:[8]

text: The question putting Fast Five and Fast Six together for us was: Can we take it out of being a pure car culture movie and into being a true action franchise in the spirit of those great heist films made 10 or 15 years ago?

text: Fogelson said that the racing aspect had put a "ceiling" on the number of people willing to see films in the series, and that, by turning it into a series where car driving ability is just one aspect of the film, he hoped to increase the series' audience.[8]  On Johnson's character, Fogelson added "[Johnson] also wants to appear in and be integral to the action in Fast Six."[8]

text: On June 24, 2011, Universal Pictures announced that the anticipated sequel was scheduled for release on May 24, 2013.[9]  Moritz and Diesel returned as producers and Lin returned to direct.[9]  In an interview with Box Office, Lin revealed that he had, after discussions with Diesel, storyboarded, previsualized and edited a twelve-minute finale for Fast Six before filming was completed on Fast Five. Lin said he shot the footage as he was unsure at the time if there would be a sequel or if he would be able to direct it, but he wanted to have input on how any sequel would end.[10] On October 21, 2011, the Los Angeles Times reported that Universal was considering filming two sequels—Fast Six and Fast Seven—back to back with a single story running through both films; both written by Morgan and directed by Lin.[11] On December 20, 2011, Diesel stated that Fast Six would be split into two parts, with writing for the two films occurring simultaneously. On the decision, Diesel said:[12]

text: We have to pay off this story, we have to service all of these character relationships, and when we started mapping all that out it just went beyond 110 pages ... The studio said, 'You can't fit all that story in one damn movie!'[12]

text: On April 23, 2012, it was announced that mixed martial arts fighter Gina Carano was in negotiations to play a member of Hobbs' team.[13] On May 1, 2012, Michelle Rodriguez was confirmed to be reprising her role as Letty Ortiz,[14] and it was announced that Welsh actor Luke Evans had been offered a role as a villain.[15] Evans was confirmed to join the cast on May 9, 2012, portraying the leader of a heist gang.[16]  On July 27, 2012, Joe Taslim was confirmed to appear as a villain, Jah.[17] On February 15, 2012, Johnson confirmed that Fast Six would begin filming in May 2012, with some of the production to take place in the United Kingdom and Germany. Johnson stated that the two intended sequels would no longer be filmed simultaneously because of weather issues in filming locations, and that production on Fast Seven would only begin after the completion of Fast Six.[18] However, filming did not officially begin until July 30, 2012.[19] In February 2013, it was confirmed that the film would be titled Fast & Furious 6.[20]

text: Principal photography[edit]

text: Filming began on July 30, 2012, in London, England,[19][21][22] and Shepperton Studios in Surrey.[23] While Fast & Furious 6 became only the third production to be allowed to film in Piccadilly Circus (a scene involving Diesel and Rodriguez drag racing), Lin was unable to obtain permission to shoot an elaborate action sequence there involving an exploding oil tanker, and so a replica of the landmark was built at Shepperton.[24][25] The production were given only two minutes every hour to shut down the area for filming.[26] The London shoot including filming on Lambeth Bridge.[27] Stunt and car chase scenes began filming on location in Glasgow, Scotland on August 29, 2012, and were scheduled to conclude on September 16, 2012. The shoot took place entirely at night and involved approximately 250 crew, but none of the central cast. Sets were built on site for the scenes including a large car showroom.[28][29] Filming was scheduled to take place at the former Royal Air Force base RAF Bentwaters in late August 2012 until early September 2012.[30]

text: Shooting also occurred on Spain's Canary Islands including the island of Tenerife and Gran Canaria. Filming had been intended to take place in Marseille, France, but was relocated to the islands to take advantage of a larger tax rebate (38%) that was estimated to lower filming costs by $20 million.[31]

text: On October 11, 2012, Walker suffered an ACL injury during a stunt, forcing the production to film around his scenes until he recovered.[32] A scene involving a plane crash began filming at the former RAF station RAF Bovingdon, Hertfordshire on October 30, 2012, and was scheduled to conclude on November 9.[33] Filming for a car chase scene took place on Dale Street in Liverpool City Centre, and also the Queensway Tunnel over four days in November 2012.[26][34][35] Two days of filming were spent at HM Treasury's Government Offices Great George Street, which served as a nightclub.[36]

text: The final phase of filming took place in Echo Park, Los Angeles beginning on December 1, 2012. The shoot returned the series to the filming location of the original The Fast and the Furious, and required the garage setting of that film to be rebuilt by carpenters.[37] By December 17, 2012, it was reported that filming had concluded.[38] Post-production was heavily condensed; by March 2013, Lin was attempting to complete approximately 18 months' worth of post-production in a 12-week period. Lin was aided by five film editors, specialist teams focused on visual effects and color timing, and sound mixers that required two movie-theater-sized stages alone.[25]

text: Stunts[edit]

text: For Owen Shaw's Flip Car, Lin tasked the film's vehicle designer with developing a car capable of driving head first into moving vehicles and flipping them into the air. McCarthy and his team designed a fully functional, low to the ground, formula racing car with a ramp on its front that allowed it to catapult other cars into the air while keeping the Flip Car driver safe.[39][40]

text: For Rodriguez's and Carano's fight in the London Underground, producers refused to let the pair attempt a stunt where their characters battle over a stair rail and fall down a stairwell, fearing a serious injury would derail filming; stunt women performed the practical stunt. Morgan's scripted rendition of the fight was described as a catfight on steroids, but Rodriguez provided input to turn it into more of a street fight. Rodriguez said: "Originally in the script, it was a lot more 'Terminator'-esque — too far-fetched to be believed... Things just happened so quick and then I'm on top? Justin and I had to bust our booties to get it more realistic. I was like, 'This [woman] needs to kick my ass!'" Rodriguez and Carano rehearsed their fight choreography over two months, with trained fighter Carano undergoing extra practice to ensure her strikes looked credible without hitting hard enough to harm Rodriguez.[41] Under the direction of fight choreographer Olivier Schneider, the fight was designed to be brutal but realistic, representing Carano's "cop with fight training" and Rodriguez's street fighting.[42]

text: The parkade explosion Shaw lures Dom's team into combined on-set pillars that could be detonated alongside dust mines which could be used as a reference for the digital artists to create the appearance of the structure sinking into itself.[43] A scene involving Evans' character commandeering a tank was originally intended to use CGI to portray the vehicle crushing cars along a Spanish highway, but the final scene used practical effects as the tank really ran over approximately 250 cars during filming.[25] The scene was shot over a three-mile stretch of highway in Tenerife lined with holiday resorts that had to be digitally removed to create a desolate appearance. The segment's finale that sees Roman leap to a nearby car and the tank flip was created digitally.[43]

text: The scene featuring Diesel smashing his car through the nose of a Soviet-era cargo aircraft during takeoff was conceived by Lin while producing Fast & Furious in 2009. At the time, the stunt was too expensive to film and did not fit into that film's story, but Lin commissioned digital pre-visualization artists to develop a mock-up of the idea. He attempted to revive the concept for Fast Five but the technology available proved insufficient and it still did not organically fit into the story.[25] Filming the climactic scene practically was considered unfeasible as it involved throwing tanks through the air and having cars race alongside the moving aeroplane at 100 miles per hour. Lin opted to build various plane sets instead: a thirty foot high, seventy five foot long, fifty foot wide replica of the fuselage complete with wheels; the tail of the plane with a ramp allowing the cars to drive in and out; and a full scale build of the central fuselage, with wings, engines and the nose, that could be set on fire. For Dom's car to explode through the plane's nose, a Dodge Charger was placed on a pneumatic cannon mounted inside a ramp which was then towed by a 4x4 truck, all concealed behind the plane's nose replica. This was then clad in material soaked in flammable materials. The cannon fired the Charger through the nose as the material is ignited for the practical effect. The stunt driver had a burning 40-ton plane rig chasing them down the runway afterwards. The scene involved more than 200 crew members, and over 350 visual effects (VFX) artists at VFX studio Double Negative to complete. A typical shot of the craft's destruction could take over 100 man days to complete. The VFX team combined the filmed explosions and smoke with digital augmentations to place the plane into the scene.[43]

text: Marketing[edit]

text: The film's first trailer was released during the 2013 Super Bowl on February 3. Among the six film trailers that launched at the event, Fast & Furious 6 generated widespread attention on social media, more than the other films (including Iron Man 3 and Star Trek Into Darkness) combined according to data collection agency Fizziology. The extended version of the trailer had been viewed over 16 million times by February 17. The trailer's success was partially attributed to the film's stars promoting the trailer on their personal social networks.  The Fast and the Furious series marketing attempted to cultivate an online fan base which was also considered to have helped promote the film; the filmmakers responded to fan interaction, conducted an online poll to decide the title of Fast & Furious 6, brought back the character of Letty Ortiz based on fan feedback and encouraged fans to document the film's production with unofficial photos. Universal marketing co-president Michael Moses said: "We’re trying to remove the studio filter as much as possible, which is a little scary because you’re ceding control... But it makes for more authentic and organic interaction with fans."[44][45] The Super Bowl trailer, titled "Breathe", won two Golden Trailer Awards for Best Action TV Spot and Best Summer Blockbuster 2013 TV Spot, and the marketing campaign received a further three nominations: Summer 2013 Blockbuster Trailer and Best Sound Editing for the "Trailer" trailer, and Best Teaser Poster.[46] A 15-piece clothing line was also produced in partnership with Guess, including T-shirts, jackets, caps and watches.[47]

text: Continuing their partnership from Fast Five, the Facebook game Car Town by Cie Games and the theater chain Regal Entertainment Group (REG) collaborated with Universal in a cross-media marketing promotion. Car Town allowed players to view the trailer for the film in an REG-branded, in-game drive-in theater. The game also featured missions and locations based on the plot of the film, and allowed players to join forces with Fast & Furious 6 characters. REG offered players of Car Town the ability to purchase tickets in-game via Fandango for films at REG theaters. By buying these tickets in-game, players were given promotional codes which in turn allowed them to unlock a virtual 2013 Dodge Charger SRT8.[48]

text: Release[edit]

text: The premiere of Fast & Furious 6 took place on May 7, 2013, at the Empire cinema in Leicester Square, London.[49][50] The film was released in the United Kingdom on May 17, 2013, with the North American release on May 24.[51][52][53] While the film is officially titled Fast & Furious 6, its on-screen title card displays the title as simple Furious 6.[3]

text: Box office[edit]

text: Fast & Furious 6 earned $239 million in North America and $550 million elsewhere for a worldwide total of $789 million.[2] Calculating in all expenses, Deadline Hollywood estimated that the film made a profit of $135.1 million.[54] Worldwide, it is the sixth highest-grossing 2013 film[55][56] and the fourth highest-grossing Universal film.[57] On the weekend of June 14–16, 2013, it became the second highest-grossing film in the Fast and the Furious franchise worldwide behind Furious 7, as well as separately in North America and outside North America.[58][59]

text: Outside North America, it is the highest-grossing film in the Fast and Furious series,[60] the second highest-grossing Universal film[57] and the second highest-grossing 2013 film.[61] In the United Kingdom, the film took $4.4 million during its opening day from 462 screens, the biggest opening day for both The Fast and the Furious franchise and Universal in that market, the second-highest opening of 2013 behind Iron Man 3 ($4.7 million), and the number 1 film of the day with 54% of the market.[53] It finished as the number 1 film of the weekend, taking a total of $13.8 million; this figure made it the biggest opening for the franchise, Universal,  a Vin Diesel or Dwayne Johnson film, and the second-biggest opening of 2013 again behind Iron Man 3 ($17.6 million).[62] The film opened in fifty-nine territories the following weekend alongside the North American opening, placing as the number 1 film in each and earning $160.3 million; it set opening-weekend records in the United Arab Emirates, the Middle East, and Argentina[63] (the latter was first surpassed by Monsters University).[64] In China, the Fast & Furious 6 opened to $6.9 million, making it Universal's highest-grossing film in the territory. It earned its 66th number 1 opening, earning $23.6 million during its opening weekend, $3 million of which came from IMAX screenings.[65][66]

text: In North America, Fast & Furious 6 debuted simultaneously with the comedy The Hangover Part III and the animated feature Epic. It opened for midnight showings on May 23, 2013, in 2,409 theaters. It took $6.5 million, nearly doubling Fast Five's midnight gross ($3.8 million) which faced less direct competition. On its opening day, Fast & Furious 6 earned $38.7 million (including midnight earnings) from 3,659 theaters.[67][68] The film finished the 4-day Memorial Day weekend in first place, taking $117.0 million, which was the fourth-highest 4-day Memorial Day opening.[69] The audience was diverse, with Latinos representing 32%, women 49%, and 57% over the age of 25.[70]

text: Critical reception[edit]

text: Fast & Furious 6 received generally positive reviews from critics. On Rotten Tomatoes, the film has a rating of 69%, based on 188 reviews, with an average rating of 6.2/10. The site's critical consensus reads, "With high-octane humor and terrific action scenes, Fast & Furious 6 builds upon the winning blockbuster formula that made Fast 5 a critical and commercial success."[71] Metacritic gives the film a score of 61 out of 100, based on 39 critics, which indicates "generally favorable reviews".[72] CinemaScore polls reported that the average grade moviegoers gave the film was an "A" on a scale of A+ to F.[68]

text: Fast & Furious 6 was generally considered to effectively mix absurd action scenes and outrageous stunts with a predictable but enjoyable plot and character dialog.[73][74][75] IGN's Jim Vejvoda said that the film is a crowd pleaser whose fun moments outweighed failed attempts at humor and unintentionally comical dialog.[76] Other reviewers highlighted the likable cast,[77] ludicrous action, playful approach to the plot,[78] and ability to immerse the audience in the high speed chases and conflict between the two opposing gangs.[75] Digital Spy's Ben Rawson-Jones said the tone successfully mixed self-conscious spectacle with the central characters' teamwork, bonding and familial spirit.[75] Conversely, Slant Magazine's Chris Cabin said the film was smug, cynical and insubstantial that delivered overly sentimental drama and forced comedy that seemed unaware "of how dumb the material is".[79] The Daily Telegraph's Tim Robey labeled the film as slow-witted with a random and generic plot,[80] and Time Out London's Derek Adams said the film featured puerile dialog, daft performances and flat comic repartee.[79][81] IndieWire said that the film forsakes realistic set-pieces (comparing it to the 2012 superhero film The Avengers), which undermined any attempts at creating tension.[82]

text: Empire's Owen Williams noted that Fast & Furious 6 lacked the same surprise as Fast Five without Johnson's antagonist Hobbs, and suggested that the large cast of returning characters had made Evans' Owen Shaw unable to make an impression as the new villain.[73] Scenes of dialog and character progression were criticized as slow,[80] and laughably bad.[77] Evans' Owen Shaw was repeatedly singled out as a refreshing and charismatic addition to the cast, though others described the character as generic and dull.[75][77][80][83]

text: Lin's direction of the action set-pieces was described as lavish and exquisite.[75][80] The cinematography received a mixed response. Variety's Scott Foundas appreciated the attention to spatial geography and complicated, single, continuous shots which were compared to the best of James Bond and Mission: Impossible films, and Rawson-Jones said that the nocturnal races in London made excellent use of the environment.[75][84] The Hollywood Reporter's Todd McCarthy considered that the action scenes were cut too fast, failed to provide a sense of speed for the vehicles and were mired by poor angles and nocturnal settings that obscured the view.[83] View London's Matthew Turner considered that the action lacked imagination, with the London-based segments amounting to little more than a geographically inaccurate race past landmarks.[77]

text: Accolades[edit]

text:
Year

Award

Category

Recipient

Result

2013

Golden Trailer Awards[85]

Best Action TV Spot

Breathe (Super Bowl Trailer)

Won

Best Summer Blockbuster 2013 TV Spot

Breathe (Super Bowl Trailer)

Summer 2013 Blockbuster Trailer

Nominated

Best Sound Editing

Best Teaser Poster

Teen Choice Awards

Choice Summer Movie: Action/Adventure

Won

Choice Summer Movie Star: Male

Dwayne Johnson

Nominated

Choice Summer Movie Star: Female

Michelle Rodriguez

Choice Movie: Chemistry

Vin Diesel, Dwayne Johnson, & Paul Walker

Hollywood Film Festival

Best Film

Phoenix Film Critics Society Award

Best Stunts

Won

2014

People's Choice Awards

Favorite Movie

Nominated

Favorite Action Movie

Favorite Action Movie Star

Vin Diesel

IGN's Best of 2013 Movie Awards[86]

Best Action Movie

Won

Screen Actors Guild Awards

Outstanding Performance by a Stunt Ensemble in a Motion Picture

Nominated

Motion Picture Sound Editors Golden Reel Awards[87][88]

Best Sound Editing: Sound Effects & Foley in a Feature Film

Peter Brown

Nominated

MTV Movie Awards[89]

Best On-Screen Duo

Vin Diesel & Paul Walker

Won

Saturn Award

Best Action or Adventure Film

Won

Best Editing

Christian Wagner, Kelly Matsumoto and Dylan Highsmith

Nominated

Premios Juventud

Best Picture

Won

tag: table

text: Home media[edit]

text: Fast & Furious 6 DVD was released in the United Kingdom on September 16, 2013, and in Australia on October 3, 2013. In other countries Fast & Furious 6 DVD release has been confirmed for December 10, 2013.[90] FX has purchased the rights to air the movie on its network in 2015.[91] Following Walker's death on November 30, 2013, Universal announced that a portion of the profits from the film's North American sales would be donated to Walker's charity Reach Out WorldWide.[92]

text: Soundtrack[edit]

text: Lucas Vidal composed the musical score for Fast & Furious 6.[93] In addition to Vidal's score, tracks by composer Brian Tyler from the franchise's previous installments are also featured in the film.[94] A soundtrack album to the film was released by Def Jam Recordings on May 21, 2013. It features many electronic and hip hop tracks, including songs by deadmau5, Ludacris (who played Tej Parker), and many others.[95]

text: Video games[edit]

text: A cooperative racing video game, titled Fast & Furious: Showdown, was released on May 21, 2013. Developed by Firebrand Games and published by Activision for Microsoft Windows, PlayStation 3, Wii U, Xbox 360 and Nintendo 3DS, the game's story ties into the events in Fast & Furious 6, including bridging the events between the story of the film and those of its predecessor Fast Five, as well as the story of other films in the franchise.[96][97][98] It is a Grand Theft Auto-style action game and received mainly negative reviews. A mobile game, Fast & Furious 6: The Game, was developed by Exploding Barrel Games and published by studio Kabam. It was released on May 16, 2013, for iPhone, iPod touch, iPad, and Android devices.[99] The story of Fast & Furious 6: The Game runs parallel to that of Fast & Furious 6, allowing players to race and customize vehicles alongside characters from the film.[100]

text: Sequel[edit]

text: A sequel, titled Furious 7, was announced in April 2013. Lin would not return to direct the sequel as Universal pursued an accelerated schedule for the film, with a release date scheduled for July 11, 2014, just over a year after the release of Fast & Furious 6. Lin was replaced by director James Wan that same month.[51][52][101][102] After the death of Paul Walker, the release date was postponed to April 3, 2015.[103]


question_text: where is the big 12 baseball tournament held

text:
2018 Big 12 Conference
Baseball Tournament

Format
two bracket Double-elimination tournament
with championship game

Finals Site

Chickasaw Bricktown Ballpark
Oklahoma City, OK

Champions
Baylor

MVP

Television
Bracket Play: FCS Central
Championship: FSN

← 2017
Baseball Tournament
2019 →

text:
2018 Big 12 Conference baseball standings

v
t
e

Conf

Overall

Team
W

L

T

PCT

W

L

T

PCT

Texas
17
–
7
–
0

.708

37
–
18
–
0

.673

No. 24 Oklahoma State
16
–
8
–
0

.667

29
–
22
–
1

.567

No. 15 Texas Tech
15
–
9
–
0

.625

38
–
15
–
0

.717

Oklahoma
14
–
10
–
0

.583

34
–
21
–
0

.618

Baylor
13
–
11
–
0

.542

32
–
19
–
0

.627

TCU
10
–
13
–
0

.435

30
–
22
–
0

.577

West Virginia
9
–
15
–
0

.375

27
–
25
–
0

.519

Kansas
8
–
15
–
0

.348

26
–
28
–
0

.481

Kansas State
5
–
19
–
0

.208

23
–
31
–
0

.426

‡ – Tournament champion
As of May 31, 2018[1]; Rankings from Collegiate Baseball

text: The 2018 Big 12 Conference Baseball Tournament will be held from May 23 through May 27 at Chickasaw Bricktown Ballpark in Oklahoma City, Oklahoma. The annual tournament determines the conference champion of the Division I Big 12 Conference for college baseball. The winner of the tournament will earn the league's automatic bid to the 2018 NCAA Division I Baseball Tournament.[2][3]

text: The tournament has been held since 1997, the inaugural year of the Big 12 Conference. Among current league members, Texas has won the most championships with five. Among original members, Baylor and Kansas State have never won the event. Iowa State discontinued their program after the 2001 season without having won a title. Having joined in 2013, TCU won their first title in 2014 while West Virginia has yet to win the Tournament.

text: Format and seeding[edit]

text: The top eight finishers from the regular season will be seeded one through eight, and will then play a two-bracket double-elimination tournament leading to a winner-take-all championship game.

text: Results[edit]

text:
First round

Second round

Semifinals

Finals

1
Texas
2

8
Kansas
3

8
Kansas
5

5
Baylor
10

4
Oklahoma
0

5
Baylor
4

5
Baylor
10
–

4
Oklahoma
3
–

4
Oklahoma
3

1
Texas
1

8
Kansas
2

4
Oklahoma
4

5
Baylor
6

6
TCU
511

3
Texas Tech
2

6
TCU
127

6
TCU
8

7
West Virginia
1

2
Oklahoma State
5

7
West Virginia
8

6
TCU
7
–

7
West Virginia
3
–

2
Oklahoma State
2

3
Texas Tech
6

7
West Virginia
12

3
Texas Tech
4


document_title: Speaker of the Lok Sabha

question_text: who is the chairman of the lok sabha

question_tokens: who is the chairman of the lok sabha

text: Speaker of the Lok Sabha

text: Powers and functions of the Speaker[edit]

text: The Speaker of the Lok Sabha conducts the business in house; and decides whether a bill is a money bill or not. They maintain discipline and decorum in the house and can punish a member for their unruly behavior by suspending them. They also permit the moving of various kinds of motions and resolutions such as a motion of no confidence, motion of adjournment, motion of censure and calling attention notice as per the rules. The Speaker decides on the agenda to be taken up for discussion during the meeting. The date of election of the speaker is fixed by the President. Further, all comments and speeches made by members of the House are addressed to the speaker. The speaker also presides over the joint sitting of both Houses of Parliament. The counterpart of the Speaker in the Rajya Sabha is the Chairman, who is the Vice President of India. In the warrant of precedence, the speaker of Lok Sabha comes next only to The Deputy Prime Minister of India. Speaker has the sixth rank in the political executive of India

text: Removal of the Speaker[edit]

text: Speaker can be removed by the Lok Sabha by a resolution passed by an effective majority of the House as per Articles 94 and 96.

text: Speaker is also removed on getting disqualified for being Lok Sabha member under sections 7 & 8 of Representation of the People Act, 1951.[3] This would arise out of speaker's wrong certification of a bill as money bill inconsistent with the definition given in Articles 110 of the constitution.[4] When courts uphold the unconstitutional act of the speaker for wrong certification of a bill as money bill, it amounts to disrespecting the constitution deserving conviction under Prevention of Insults to National Honour Act, 1971 which is applicable for disqualification of speaker's Lok Sabha membership under section 8k of Representation of the People Act, 1951. However the omissions in the procedure committed by the speaker in the Lok Sabha can not be challenged in court of law per Article 122[5]

text: Protem Speaker[edit]

text: After a general election and the formation of a new government, a list of senior Lok Sabha members prepared by the Legislative Section is submitted to the Minister of Parliamentary Affairs, who selects a protem speaker. The appointment has to be approved by the president.[6]

text: The first meeting after the election when the Speaker and the Deputy Speaker are selected by members of the Parliament is held under the pro tem Speaker. In absence of the Speaker, the Deputy Speaker acts as Speaker and in the absence of both a committee of six member selected by the Speaker will act as Speaker according to their seniority.

text: Eligibility Criteria Of a Speaker of Loksabha

text: 1) He or She must be a citizen of India.

text: 2) He or She must not be less than 25 years of age.

text: 3) He or She should not hold any office of profit under the Government of India,or the Government of any other state.

text: List of Speakers[edit]

text:
No.
Name
Portrait
Term
Party

From
To
Length
Lok Sabha[7]

1
Ganesh Vasudev Mavalankar

15 May 1952
27 February 1956
3 years, 288 days
1st
Indian National Congress

2
M. A. Ayyangar

8 March 1956
10 May 1957
1 year, 63 days

11 May 1957
16 April 1962
4 years, 340 days
2nd

3
Sardar Hukam Singh

17 April 1962
16 March 1967
4 years, 333 days
3rd

4
Neelam Sanjiva Reddy

17 March 1967
19 July 1969
2 years, 124 days
4th

5
Gurdial Singh Dhillon
—
8 August 1969
19 March 1971
1 year, 221 days

22 March 1971
1 December 1975
4 years, 254 days
5th

6
Bali Ram Bhagat
—
15 January 1976
25 March 1977
1 year, 69 days

(4)
Neelam Sanjiva Reddy

26 March 1977
13 July 1977
109 days
6th
Janata Party

7
K. S. Hegde

21 July 1977
21 January 1980
2 years, 184 days

8
Balram Jakhar

22 January 1980
27 oct 1984
3 years, 358 days
7th
Indian National Congress

16 January 1985
18 December 1989
4 years, 336 days
8th

9
Rabi Ray
—
19 December 1989
9 July 1991
1 year, 202 days
9th
Janata Dal

10
Shivraj Patil

10 July 1991
22 May 1996
4 years, 317 days
10th
Indian National Congress

11
P. A. Sangma

23 May 1996
23 March 1998
1 year, 304 days
11th

12
G. M. C. Balayogi
—
24 March 1998
19 October 1999
1 year, 209 days
12th
Telugu Desam Party

22 October 1999
3 March 2002
2 years, 132 days
13th

13
Manohar Joshi

10 May 2002
2 June 2004
2 years, 23 days
Shiv Sena

14
Somnath Chatterjee

4 June 2004
31 May 2009
4 years, 361 days
14th
Communist Party of India (Marxist)

15
Meira Kumar

4 June 2009
4 June 2014
5 years, 0 days
15th
Indian National Congress

16
Sumitra Mahajan

5 June 2014
Incumbent
3 years, 308 days
16th
Bharatiya Janata Party


document_title: Gospel of Mark

question_text: where did mark get his information to write his gospel

text: Gospel of Mark

text: Composition and setting[edit]

text: Composition[edit]

text: The Gospel of Mark was written anonymously.[7] Early Christian tradition ascribes it to John Mark, a companion and interpreter of the apostle Peter.[8] Hence its author is often called Mark, even though most modern scholars are doubtful of the Markan tradition and instead regard the author as unknown.[9] It was probably written c. AD 66–70, during Nero's persecution of the Christians in Rome or the Jewish revolt, as suggested by internal references to war in Judea and to persecution.[3] The author used a variety of pre-existing sources, such as conflict stories (Mark 2:1–3:6), apocalyptic discourse (4:1–35), and collections of sayings (although not the Gospel of Thomas and probably not the Q source).[10]

text: Mark was written in Greek, for a gentile audience (that they were gentiles is shown by the author's need to explain Jewish traditions and translate Aramaic terms) of Greek-speaking Christians: Rome (Mark uses a number of Latin terms), Galilee, Antioch (third-largest city in the Roman Empire, located in northern Syria), and southern Syria have all been offered as alternative places of authorship.[11] The author may have been influenced by Greco-Roman biographies and rhetorical forms, popular novels and romances, and the Homeric epics; nevertheless, he mentions almost no public figures, makes no allusions to Greek or Roman literature, and takes all his references from the Jewish scriptures, mostly in their Greek versions from the Septuagint.[12] His book is not history in the modern sense, or even in the sense of classical Greek and Roman historians, but "history in an eschatological or apocalyptic sense," depicting Jesus caught up in events at the end of time.[13]

text: Synoptic problem and historicity[edit]

text: The gospels of Matthew, Mark and Luke bear a striking resemblance to each other, so much so that their contents can easily be set side by side in parallel columns. The fact that they share so much material verbatim and yet also exhibit important differences has led to a number of hypotheses explaining their interdependence, a phenomenon termed the Synoptic Problem. Traditionally, Mark was thought to be an epitome (summary) of Matthew: for example, Augustine of Hippo believed they were written in order, "first Matthew, then Mark, thirdly Luke, lastly John" and that Mark followed Matthew as "his attendant and epitomizer".[14] Today, the most widely accepted hypothesis is that Mark was the first gospel (Marcan Priority) and was used as a source by both Matthew and Luke, together with considerable additional material. The strongest argument for this is the fact that Matthew and Luke agree with each other in their sequence of stories and events only when they also agree with Mark.[15]

text: The 19th century recognition of Mark as the earliest gospel led to the belief that it must therefore be the most reliable.[16] This conclusion was refuted by two works published in the early decades of the 20th century: in 1901 William Wrede argued that Mark's sequence of episodes is in fact an artificial construct with theological motivation; and in 1919 Karl Ludwig Schmidt showed how the links between the episodes are the invention of the writer, thus undermining the gospel's claim to be a reliable guide to the chronology of Jesus' mission.[17] The modern consensus is that Mark's purpose was to present a theological message rather than to write history,[16] but this gospel is nevertheless still seen as the most reliable of the four in terms of its overall description of Jesus's life and ministry.[18]

text: Setting[edit]

text: Christianity began within Judaism, with a Christian "church" (or ἐκκλησία, ekklesia, meaning "assembly") that arose shortly after his death, when some of his followers claimed to have witnessed him risen from the dead.[19] From the outset, Christians depended heavily on Jewish literature, supporting their convictions through the Jewish scriptures.[20] Those convictions involved a nucleus of key concepts: the messiah, the son of God and the son of man, the Day of the Lord, the kingdom of God. Uniting these ideas was the common thread of apocalyptic expectation: Both Jews and Christians believed that the end of history was at hand, that God would very soon come to punish their enemies and establish his own rule, and that they were at the centre of his plans. Christians read the Jewish scripture as a figure or type of Jesus Christ, so that the goal of Christian literature became an experience of the living Christ.[21] The new movement spread around the eastern Mediterranean and to Rome and further west, and assumed a distinct identity, although the groups within it remained extremely diverse.[19]

text: The gospels were written for an audience already Christian – their purpose was to strengthen the faith of those who already believed, not to convert unbelievers.[22] Christian "churches" were small communities of believers, often based on households (an autocratic patriarch plus extended family, slaves, freedmen, and other clients), and the evangelists often wrote on two levels, one the "historical" presentation of the story of Jesus, the other dealing with the concerns of the author's own day.[23] Thus the proclamation of Jesus in Mark 1:14 and the following verses, for example, mixes the terms Jesus would have used as a 1st-century Jew ("kingdom of God") and those of the early church ("believe", "gospel").[23] More fundamentally, some scholars believe Mark's reason for writing was to counter believers who saw Jesus in a Greek way, as wonder-worker (the Greek term is "divine man"); Mark saw the suffering of the messiah as essential, so that the "Son of God" title (the Hellenistic "divine man") had to be corrected and amplified with the "Son of Man" title, which conveyed Christ's suffering.[24] Other scholars think Mark might have been writing as a Galilean Christian against those Jewish Christians in Jerusalem who saw the Jewish revolt against Rome (66–73 CE) as the beginning of the "end times": for Mark, the Second Coming would be in Galilee, not Jerusalem, and not until the generation following the revolt.[24]

text: Place in the Christian Church[edit]

text: Mark was traditionally placed second, and sometimes fourth, in the Christian canon, as a somewhat inferior abridgement of what was regarded as the most important gospel, Matthew. The Church has consequently derived its view of Jesus primarily from Matthew, secondarily from John, and only distantly from Mark. It was only in the 19th century that Mark came to be seen as the earliest of the four gospels, and as a source used by both Matthew and Luke. The hypothesis of Markan priority (that Mark was written first) continues to be held by the majority of scholars today, and there is a new recognition of the author as an artist and theologian using a range of literary devices to convey his conception of Jesus as the authoritative yet suffering Son of God.[25]

text: Structure, style and content[edit]

text:
Detailed content of Mark

1. Galilean ministry

John the Baptist (1:1–8)

Baptism of Jesus (1:9–11)

Temptation of Jesus (1:12–13)

Good News (1:15)

First disciples (1:16–20)

Capernaum's synagogue (1:21–28)

Peter's mother-in-law (1:29–31)

Exorcising at sunset (1:32–34)

A leper (1:35–45)

A paralytic (2:1–2:12)

Calling of Matthew (2:13–17)

Fasting and wineskins (2:18–22)

Lord of the Sabbath (2:23–28)

Man with withered hand (3:1–6)

Withdrawing to the sea (3:7–3:12)

Commissioning the Twelve (3:13–19)

Blind mute (3:20–26)

Strong man (3:27)

Eternal sin (3:28–30)

Jesus' true relatives (3:31–35)

Parable of the Sower (4:1–9,13-20)

Purpose of parables (4:10–12,33-34)

Lamp under a bushel (4:21–23)

Mote and Beam (4:24–25)

Growing seed and Mustard seed (4:26–32)

Calming the storm (4:35–41)

Demon named Legion (5:1–20)

Daughter of Jairus (5:21–43)

Hometown rejection (6:1–6)

Instructions for the Twelve (6:7–13)

Beheading of John (6:14–29)

Feeding the 5000 (6:30–44)

Walking on water (6:45–52)

Fringe of his cloak heals (6:53–56)

Discourse on Defilement (7:1–23)

Canaanite woman's daughter (7:24–30)

Deaf mute (7:31–37)

Feeding the 4000 (8:1–9)

No sign will be given (8:10–21)

Healing with spit (8:22–26)

Peter's confession (8:27–30)

Jesus predicts his death (8:31–33, 9:30–32, 10:32–34)

Instructions for followers (8:34–9:1)

Transfiguration (9:2–13)

Possessed boy (9:14–29)

Teaching in Capernaum (9:33–50)

2. Journey to Jerusalem

Entering Judea and Transjordan (10:1)

On divorce (10:2–12)

Little children (10:13–16)

Rich young man (10:17–31)

Son of man came to serve (10:35–45)

Blind Bartimaeus (10:46–52)

3. Events in Jerusalem

Entering Jerusalem (11:1–11)

Cursing the fig tree (11:12–14,20-24)

Temple incident (11:15–19)

Prayer for forgiveness (11:25–26)

Authority questioned (11:27–33)

Wicked husbandman (12:1–12)

Render unto Caesar... (12:13–17)

Resurrection of the Dead (12:18–27)

Great Commandment (12:28–34)

Is the Messiah the son of David? (12:35–40)

Widow's mite (12:41–44)

Olivet discourse (13)

Plot to kill Jesus (14:1–2)

Anointing (14:3–9)

Bargain of Judas (14:10–11)

Last Supper (14:12–26)

Denial of Peter (14:27–31,66-72)

Agony in the Garden (14:32–42)

Kiss of Judas (14:43–45)

Arrest (14:46–52)

Before the High Priest (14:53–65)

Pilate's court (15:1–15)

Soldiers mock Jesus (15:16–20)

Simon of Cyrene (15:21)

Crucifixion (15:22–41)

Entombment (15:42–47)

Empty tomb (16:1–8)

The Longer Ending (16:9–20)

Resurrection appearances (16:9–13)

Great Commission (16:14–18)

Ascension (16:19)

Dispersion of the Apostles (16:20)

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text: Structure[edit]

text: There is no agreement on the structure of Mark.[26] There is, however, a widely recognised break at Mark 8:26–31: before 8:26 there are numerous miracle stories, the action is in Galilee, and Jesus preaches to the crowds, while after 8:31 there are hardly any miracles, the action shifts from Galilee to gentile areas or hostile Judea, and Jesus teaches the disciples.[27] Peter's confession at Mark 8:27–30 that Jesus is the messiah thus forms the watershed to the whole gospel.[28] A further generally recognised turning point comes at the end of chapter 10, when Jesus and his followers arrive in Jerusalem and the foreseen confrontation with the Temple authorities begins, leading R.T. France to characterise Mark as a three-act drama.[29] James Edwards in his 2002 commentary points out that the gospel can be seen as a series of questions asking first who Jesus is (the answer being that he is the messiah), then what form his mission takes (a mission of suffering culminating in the crucifixion and resurrection, events only to be understood when the questions are answered), while another scholar, C. Myers, has made what Edwards calls a "compelling case" for recognising the incidents of Jesus' baptism, transfiguration and crucifixion, at the beginning, middle and end of the gospel, as three key moments, each with common elements, and each portrayed in an apocalyptic light.[30] Stephen H. Smith has made the point that the structure of Mark is similar to the structure of a Greek tragedy[31]

text: Style[edit]

text: Examples of Mark's literary style include the use of summaries, in which several stories about Jesus are all wrapped up into one description (Mark 6:55, 56).[32]

text: Content[edit]

text:
Jesus is first announced as the messiah and then later as the Son of God; he is baptised by John and a heavenly voice announces him as the Son of God; he is tested in the wilderness by Satan; John is arrested, and Jesus begins to preach the good news of the kingdom of God.
Jesus gathers his disciples; he begins teaching, driving out demons, healing the sick, cleansing lepers, raising the dead, feeding the hungry, and giving sight to the blind; he delivers a long discourse in parables to the crowd, intended for the disciples, but they fail to understand; he performs mighty works, calming the storm and walking on water, but while God and demons recognise him, neither the crowds nor the disciples grasp his identity. He also has several run-ins with Jewish law keepers especially in chapters 2-3.
Jesus asks the disciples who people say he is, and then, "but you, who do you say I am?" Peter answers that he is the Christ, and Jesus commands him to silence; Jesus explains that the Son of Man must go to Jerusalem and be killed, but will rise again; Moses and Elijah appear with Jesus and God tells the disciples, "This is my son," but they remain uncomprehending.
Jesus goes to Jerusalem, where he is hailed as one who "comes in the name of the Lord" and will inaugurate the "kingdom of David"; he drives those who buy and sell animals from the Temple and debates with the Jewish authorities; on the Mount of Olives he announces the coming destruction of the Temple, the persecution of his followers, and the coming of the Son of Man in power and glory.
A woman perfumes Jesus' head with oil, and Jesus explains that this is a sign of his coming death; Jesus celebrates Passover with the disciples, declares the bread and wine to be his body and blood, and goes with them to Gethsemane to pray; there Judas betrays him to the Jews; interrogated by the high priest, he says that he is the Christ, the Son of God, and will return as Son of Man at God's right hand; the Jewish leaders turn him over to Pilate, who has him crucified as one who claims to be "king of the Jews"; Jesus, abandoned by the disciples, is buried in a rock tomb by a friendly member of the Jewish council.
The women who have followed Jesus come to the tomb on Sunday morning; they find it empty, and are told by a young man in a white robe to go and tell the others that Jesus has risen and has gone before them to Galilee; "but they said nothing to anyone, for they were afraid ...."[2]

text: Ending[edit]

text: The earliest and most reliable manuscripts of Mark end at Mark 16:8, with the women fleeing in fear from the empty tomb: the majority of recent scholars believe this to be the original ending,[33] and this is supported by statements from the early Church Fathers Eusebius and Jerome.[34] Two attempts were made to provide a more satisfactory conclusion.[35] A minority of later manuscripts have what is called the "shorter ending", an addition to Mark 16:8 telling how the women told "those around Peter" all that the angel had commanded and how the message of eternal life (or "proclamation of eternal salvation") was then sent out by Jesus himself.[35] This addition differs from the rest of Mark both in style and in its understanding of Jesus.[35] The overwhelming majority of manuscripts have the "longer ending", Mark 16:9–20, with accounts of the resurrected Jesus, the commissioning of the disciples to proclaim the gospel, and Christ's ascension.[34] This ending was possibly written in the early 2nd century and added later in the same century.[35]

text: Modern scholars have proposed many explanations for the abrupt original ending, though none with universal acceptance. It could indicate a connection to the theme of the "Messianic Secret". Whatever the case, it is clear that Mark's Jesus looks forward to a post-death meeting in Galilee, and it is likely that at that meeting, like the final meeting in Galilee that Matthew depicts, Mark's Jesus would command the disciples to take his message to the nations.[36]

text: Theology[edit]

text: Mark's gospel theology[edit]

text: The author introduces his work as "gospel", meaning "good news", a literal translation of the Greek "evangelion"[37] – he uses the word more often than any other writer in the New Testament besides Paul.[38] Paul uses it to mean "the good news (of the saving significance of the death and resurrection) of Christ"; Mark extends it to the career of Christ as well as his death and resurrection.[37] Like the other gospels, Mark was written to confirm the identity of Jesus as eschatological deliverer – the purpose of terms such as "messiah" and "son of God".[39] As in all the gospels, the messianic identity of Jesus is supported by a number of themes, including: (1) the depiction of his disciples as obtuse, fearful and uncomprehending; (2) the refutation of the charge made by Jesus' enemies that he was a magician; (3) secrecy surrounding his true identity (this last is missing from John).[39]

text: The failure of the disciples[edit]

text: In Mark, the disciples, and especially the Twelve, move from lack of perception of Jesus to rejection of the "way of suffering" to flight and denial – even the women who received the first proclamation of his resurrection can be seen as failures for not reporting the good news. There is much discussion of this theme among scholars. Some argue that the author of Mark was using the disciples to correct "erroneous" views in his own community concerning the reality of the suffering messiah, others that it is an attack on the Jerusalem branch of the church for resisting the extension of the gospel to the gentiles, or a mirror of the convert's usual experience of the initial enthusiasm followed by growing awareness of the necessity for suffering. It certainly reflects the strong theme in Mark of Jesus as the "suffering just one" portrayed in so many of the books of the Jewish scriptures, from Jeremiah to Job and the Psalms, but especially in the "Suffering Servant" passages in Isaiah. It also reflects the Jewish scripture theme of God's love being met by infidelity and failure, only to be renewed by God. And in the real-world context in which the gospel was written, the persecutions of the Christians of Rome under Nero, the failure of the disciples and Jesus' denial by Peter himself would have been powerful symbols of faith, hope and reconciliation.[40]

text: The charge of magic[edit]

text: Mark contains twenty accounts of miracles and healings, accounting for almost a third of the gospel and half the first ten chapters, more, proportionally, than in any other gospel.[41] In the gospels as a whole, Jesus' miracles, prophecies, etc., are presented as evidence of God's rule, but Mark's descriptions of Jesus' healings are a partial exception to this, as his methods, using spittle to heal blindness (Mark 8:22–26) and magic formulae ("Talitha cumi," 5:41, "Ephphatha," 7:34), were those of a magician.[42][43] This is the charge the Jewish religious leaders bring against Jesus: they say he is performing exorcisms with the aid of an evil spirit (Mark 3:22) and calling up the spirit of John the Baptist (Mark 6:14).[42] "There was ... no period in the history of the [Roman] empire in which the magician was not considered an enemy of society," subject to penalties ranging from exile to death, says Classical scholar Ramsay MacMullen.[44] All the gospels defend Jesus against the charge, which, if true, would contradict their ultimate claims for him.[45] The point of the Beelzebub incident in Mark (Mark 3:20–30) is to set forth Jesus' claims to be an instrument of God, not Satan.[45]

text: The messianic secret[edit]

text: In 1901, William Wrede identified the "Messianic secret" – Jesus' secrecy about his identity as the messiah – as one of Mark's central themes. Wrede argued that the elements of the secret – Jesus' silencing of the demons, the obtuseness of the disciples regarding his identity, and the concealment of the truth inside parables, were fictions, and arose from the tension between the Church's post-resurrection messianic belief and the historical reality of Jesus. There remains continuing debate over how far the "secret" originated with Mark and how far he got it from tradition, and how far, if at all, it represents the self-understanding and practices of the historical Jesus.[46]

text: Christology: Mark's understanding of Jesus[edit]

text: Christology means a doctrine or understanding concerning the person or nature of Christ.[47] In the New Testament writings it is frequently conveyed through the titles applied to Jesus. Most scholars agree that "Son of God" is the most important of these titles in Mark.[48] It appears on the lips of God himself at the baptism and the transfiguration, and is Jesus' own self-designation (Mark 13:32).[49] These and other instances provide reliable evidence of how the evangelist perceived Jesus, but it is not clear just what the title meant to Mark and his 1st century audience.[49] Where it appears in the Hebrew scriptures it meant Israel as God's people, or the king at his coronation, or angels, as well as the suffering righteous man.[50] In Hellenistic culture the same phrase meant a "divine man", a supernatural being.[49] There is little evidence that "son of God" was a title for the messiah in 1st century Judaism, and the attributes which Mark describes in Jesus are much more those of the Hellenistic miracle-working "divine man" than of the Jewish Davidic messiah.[49]

text: Mark does not explicitly state what he means by "Son of God", nor when the sonship was conferred.[51] The New Testament as a whole presents four different understandings:

text:
Jesus became God's son at his resurrection, God "begetting" Jesus to a new life by raising him from the dead – this was the earliest understanding, preserved in Paul's Epistle to the Romans, 1:3–4, and in Acts 13:33;
Jesus became God's son at his baptism, the coming of the Holy Spirit marking him as messiah, while "Son of God" refers to the relationship then established for him by God – this is the understanding implied in Mark 1:9–11;
Matthew and Luke present Jesus as "Son of God" from the moment of conception and birth, with God taking the place of a human father;
John, the last of the gospels, presents the idea that the Christ was pre-existent and became flesh as Jesus – an idea also found in Paul.[52]

tag: ol

text: Mark also calls Jesus "christos" (Christ), translating the Hebrew "messiah," (anointed person).[53] In the Old Testament the term messiah ("anointed one") described prophets, priests and kings; by the time of Jesus, with the kingdom long vanished, it had come to mean an eschatological king (a king who would come at the end of time), one who would be entirely human though far greater than all God's previous messengers to Israel, endowed with miraculous powers, free from sin, ruling in justice and glory (as described in, for example, the Psalms of Solomon, a Jewish work from this period).[54] The most important occurrences are in the context of Jesus' death and suffering, suggesting that, for Mark, Jesus can only be fully understood in that context.[53]

text: A third important title, "Son of Man", has its roots in Ezekiel, the Book of Enoch, (a popular Jewish apocalyptic work of the period), and especially in Daniel 7:13–14, where the Son of Man is assigned royal roles of dominion, kingship and glory.[55][56] Mark 14:62 combines more scriptural allusions: before he comes on clouds (Daniel 7:13) the Son of Man will be seated on the right hand of God (psalm 110:1), pointing to the equivalence of the three titles, Christ, Son of God, Son of Man, the common element being the reference to kingly power.[57]

text: Eschatology and salvation: The meaning of Christ's death, resurrection and return[edit]

text: Eschatology means the study of the end-times, and the Jews expected the messiah to be an eschatological figure, a deliverer who would appear at the end of the age to usher in an earthly kingdom.[58] The earliest Jewish Christian community saw Jesus as a messiah in this Jewish sense, a human figure appointed by God as his earthly regent; but they also believed in Jesus' resurrection and exultation to heaven, and for this reason they also viewed him as God's agent (the "son of God") who would return in glory ushering in the Kingdom of God.[59]

text: The term "Son of God" likewise had a specific Jewish meaning, or range of meanings,[60] one of the most significant being the earthly king adopted by God as his son at his enthronement, legitimising his rule over Israel.[61] In Hellenistic culture, in contrast, the phrase meant a "divine man", covering legendary heroes like Hercules, god-kings like the Egyptian pharaohs, or famous philosophers like Plato.[62] When the gospels call Jesus "Son of God" the intention is to place him in the class of Hellenistic and Greek divine men, the 'sons of God" who were endowed with supernatural power to perform healings, exorcisms and other wonderful deeds.[61] Mark's "Son of David" is Hellenistic, his Jesus predicting that his mission involves suffering, death and resurrection, and, by implication, not military glory and conquest.[63] This reflects a move away from the Jewish-Christian apocalyptic tradition and towards the Hellenistic message preached by Paul, for whom Christ's death and resurrection, rather than the establishment of the apocalyptic Jewish kingdom, is the meaning of salvation, the "gospel".[59]

text: Comparison with other writings[edit]

text: Mark and the New Testament[edit]

text: All four gospels tell a story in which Jesus' death and resurrection are the crucial redemptive events.[64] There are, however, important differences between the four: Unlike John, Mark never calls Jesus "God", or claims that Jesus existed prior to his earthly life;[65] unlike Matthew and Luke, the author does not mention a virgin birth, and apparently believes that Jesus had a normal human parentage and birth;[65] unlike Matthew and Luke, he makes no attempt to trace Jesus' ancestry back to King David or Adam with a genealogy.[65]

text: Christians of Mark's time expected Jesus to return as Messiah in their own lifetime – Mark, like the other gospels, attributes the promise to Jesus himself (Mark 9:1 and 13:30), and it is reflected in the letters of Paul, in the epistle of James, in Hebrews, and in Revelation. When return failed, the early Christians revised their understanding. Some acknowledged that the Second Coming had been delayed, but still expected it; others redefined the focus of the promise, the Gospel of John, for example, speaking of "eternal life" as something available in the present; while still others concluded that Jesus would not return at all (2 Peter argues against those who held this view).[66]

text: Mark's despairing death of Jesus was changed to a more victorious one in subsequent gospels.[67] Mark's Christ dies with the cry, "My God, my God, why have you forsaken me?"; Matthew, the next gospel to be written, repeats this word for word but manages to make clear that Jesus's death is the beginning of the resurrection of Israel; Luke has a still more positive picture, replacing Mark's (and Matthew's) cry of despair with one of submission to God's will ("Father, into your hands I commend my spirit"); while John, the last gospel, has Jesus dying without apparent suffering in fulfillment of the divine plan.[67]

text: Sayings unique to Mark[edit]

text:
The Sabbath was made for man, not man for the Sabbath (Mark 2:27).[n 1] Not present in either Matthew 12:1–8 or Luke 6:1–5. This is also a so-called "Western non-interpolation". The passage is not found in the Western text of Mark.
People were saying, "[Jesus] has gone out of his mind", see also Rejection of Jesus (Mark 3:21).
Mark is the only gospel with the combination Mark 4:24–25, the other gospels split them up: Mark 4:24 being found in Luke 6:38 and Matthew 7:2; Mark 4:25 being found in Matthew 13:12 and 25:29, Luke 8:18 and 19:26.
Parable of the Growing Seed (4:26–29).
Only Mark counts the possessed swine; there are about two thousand (Mark 5:13).
Two consecutive healing stories of women; both make use of the number twelve (Mark 5:25 and Mark 5:42).
Only Mark gives healing commands of Jesus in the (presumably original) Aramaic: Talitha koum (Mark 5:41), Ephphatha (Mark 7:34). See Aramaic of Jesus.
Only place in the New Testament Jesus is referred to as "the son of Mary" (Mark 6:3).
Mark is the only gospel where Jesus himself is called a carpenter (Mark 6:3); in Matthew he is called a carpenter's son (Matthew 13:55).
Only place that both names his brothers and mentions his sisters (Mark 6:3); Matthew has a slightly different name for one brother (Matthew 13:55).
The taking of a staff and sandals is permitted in Mark 6:8–9 but prohibited in Matthew 10:9–10 and Luke 9:3.
Only Mark refers to Herod as a king (Mk 6:14, 24); Matthew and Luke refer to him (more properly) as a tetrarch (Mt 14:1; Lk 3:19; 9:7).
The longest version of the story of Herodias' daughter's dance and the beheading of John the Baptist (Mark 6:14–29).
Mark's literary cycles:

text:
6:30–44 – Feeding of the five thousand;
6:45–56 – Crossing of the lake;
7:1–13 – Dispute with the Pharisees;
7:14–23 – Discourse on Defilement[68]

text:
8:1–9 – Feeding of the four thousand;
8:10 – Crossing of the lake;
8:11–13 – Dispute with the Pharisees;
8:14–21 – Incident of no bread and discourse about the leaven of the Pharisees.

text:
Customs that at that time were unique to Jews are explained (hand, produce, and utensil washing): 7:3–4.
"Thus he declared all foods clean".[n 2] 7:19 NRSV, not found in the Matthean parallel Matthew 15:15–20.
There is no mention of Samaritans
Jesus heals using his fingers and spit at the same time: 7:33; cf. Mark 8:23, Luke 11:20, John 9:6, Matthew 8:16; see also Exorcism.
Jesus lays his hands on a blind man twice in curing him: 8:23–25; cf. 5:23, 16:18, Acts 6:6, 9:17, 28:8, laying on of hands.
Jesus cites the Shema Yisrael: "Hear O Israel ..." (12:29–30); in the parallels of Matt 22:37–38 and Luke 10:27 the first part of the Shema (Deut 6:4) is absent.
Mark points out that the Mount of Olives is across from the temple (13:3).
When Jesus is arrested, a young naked man flees: 14:51–52. A young man in a robe also appears in 16:5–7, see also Secret Gospel of Mark.
Mark does not name the High Priest, cf. Matt 26:57, Luke 3:2, Acts 4:6, John 18:13.
Witness testimony against Jesus does not agree (14:56, 14:59).
The cock crows "twice" as predicted (Mark 14:72). See also Fayyum Fragment. The other Gospels simply record, "the cock crew". Early codices 01, W, and most Western texts have the simpler version.[n 3]
Pilate's position (Governor) is not specified, 15:1, cf. Matt 27:2, Luke 3:1, John 18:28–29.
Simon of Cyrene's sons are named (Mark 15:21).
A summoned centurion is questioned (Mark 15:44–45).
The women ask each other who will roll away the stone (Mark 16:3), cf. Matt 28:2–7.
A young man sits on the "right side" (Mark 16:5), cf. Luke 24:4, John 20:12.
Mark is the only canonical gospel with significant various alternative endings (see Mark 16, Possible Scenarios); however, most of the contents of the traditional "Longer Ending" (Mark 16:9–20) are found in other New Testament texts and are not unique to Mark, see Mark 16#The Longer Ending. The one significant exception is 16:18b "and if they drink any deadly thing", it will not harm those who believe, which is unique to Mark.


document_title: Shot Caller (film)

question_text: who played the beast in the movie shot caller

text: Shot Caller (film)

text: Plot summary[edit]

text: Jacob Harlon (Nikolaj Coster-Waldau) is a successful stock broker living in Pasadena, California with his wife Katherine and young child Joshua. One night after departing a baseball game with his wife and friends, he unintentionally runs a red light while drunk, causing an accident that results in the death of his friend and business partner Tom (Max Greenfield). Arrested and arraigned on driving under the influence and vehicular manslaughter, his lawyer urges him to take a plea deal instead of going to trial, citing the fact that he could do up to seven years if he lost his case. Harlon agrees, much to his wife's dismay, and is sentenced to incarceration at California Institution for Men (Chino) for 30 months, 16 of which he will have to serve. Upon his arrival, Jacob is shocked by the brutal realities of the prison environment, and is shaken after witnessing a gang rape during his first night. Upon entering the yard for exercise his first time, he accidentally stumbles into an African-American prisoner who responds aggressively. Harlon attacks the man, having been told by his lawyer that he was going to be housed with 'the big boys', and that if he was tested he would have to fight back, or face possible endless harassment. Both Harlon and the man are pepper sprayed and detained, and Harlon is thrown into the SHU (Secured Housing Unit) for thirty days. Upon entering the yard after his release from the SHU, he is approached by Shotgun (John Bernthal), a lieutenant for the PEN1 gang, and is brought to see Bottles (Jeffery Donovan), the shotcaller for PEN1 in Chino. PEN1, also known as Public Enemy No.1, is a violent white supremacist gang with close associations to the Aryan Brotherhood. Bottles inquires why Jacob attacked the other prisoner, and under the assumption that Harlon did it for racial reasons, offers him protection and entry into the gang. He also warns him that his protection would have a price, saying that there were no free rides. Harlon proceeds to carry out various tasks for the gang, from smuggling heroin into the yard to eventually even aiding in a murder with another brother.

text: Harlon is given the nickname Money, referring to his past as a stockbroker, and seen slowly acquiring various gang-related tattoos as his personality begins to change rapidly, hardened by his environment. During a prison riot, Harlon unintentionally gets caught on camera murdering another prisoner while protecting the shotcaller for a Hispanic gang, and although he gains recognition for it, he is sentenced to 4 years for assault with a deadly weapon and another 5 years for aiding in gang-related activity. Because of the nature of his crimes, he will have to serve a minimum of 85% for both terms before he's eligible for parole, effectively quintupling his original sentence. During the sentencing, he turns to a grief-stricken Katherine and tells her that it's over, and to forget about him. He is then transferred to Corcaron State Prison to be placed under maximum-security with the 'heavy hitters'. His new convictions effectively almost validate him as a gang member, and he is remanded to the SHU for the remainder of his sentence according to California law, where he will be on lockdown in his cell for 23 hours a day, and is only allowed yard time for one hour in a steel cage. Katherine files for divorce, effectively severing all ties to his former life. After further displaying his support for the brotherhood by attacking another gang member while being led out to the yard one day, he is introduced to the Beast (Holt McCallany), the head shot caller for the Aryan Brotherhood who has been in solitary for the last seven years, all the while managing the gang's activities from the inside via corrupt correctional officers. The Beast, impressed with Harlon's dedication, gives him 'the keys' to the gang in the prison, effectively putting him in charge under him. Harlon serves out his time in the SHU, and before being released is told by Beast that he will have to continue serving the gang's interests outside of prison, or else he and his family would be at considerable risk. Upon his release is greeted by Shotgun and other gang members, taking him to a party. During the party, Harlon survives an attempt on his life, and a young girl is shot forcing him to leave. Harlon's parole officer Kutcher (Omari Hardwick), having recently survived a shooting of his own, is approached by Sheriff Sanchez (Benjamin Bratt) and other heads of a task force informing him that they believe Harlon is putting together a large arms deal with another gang. Harlon is indeed putting together the deal, and although he is sidelined by the appearance of his former wife and son, he sets the deal in motion. Harlon becomes suspicious of Shotgun's behavior, and following him one night he discovers him talking to Kutcher and other police behind his back, who are blackmailing Shotgun into cooperation. Harlon forces his wife to sign a release of all of his funds, clean money earned through his association with gang, and after giving her the money he tells her and his son to forget about him, and go on with their lives. Harlon then goes to Shotgun's home, and after getting him to open the door, stabs him to death for the betrayal. Kutcher finds the body, and after locating his cell phone, finds coordinates to the deal's location. Although Harlon knows he murdered Shotgun, he still responds when he get's a text from Shotgun's phone sent by Kutcher, and knowingly gives up the deal's location. The deal goes down, and after it is completed, Kutcher and Sanchez and the rest of the police's tactical force storm the deal and arrest or kill the various gang members.

text: Harlon is arrested, fully validated, and given life imprisonment with no possibility of parole, all of it to be served in the SHU. When Kutcher offers to release Harlon with a full pardon of his crimes if he gives them Beast and the rest of the organization, Harlon refuses. Put back in his old cell, he is soon brought to see Beast again, who is furious that Harlon knowingly fumbled the deal. Beast threatens him by saying his family will be killed for it, and as Harlon is about to be taken away by the corrupt correctional officer, he removes a handcuff key and a razor blade that he had smuggled in through his anus. Overpowering the guard, he unlocks Beast's cell and proceeds to fight him, stabbing him in the neck and killing him. It is then discovered that Harlon had orchestrated the entire scheme and his arrest to get to Beast, knowing it was the only way he could truly spare his family from possible damages for his gang association. Covered in blood, Harlon looks at the guard and says the deal that he has with the gang can remain the same, as long as he acknowledges that Harlon's in charge now. Harlon is then seen in his cell, reading a letter from his son saying he's forgiven him. Content, and having assumed Beast's place at the top of the Aryan Brotherhood's hierarchy, he begins to serve his life sentence knowing that this was the best way he could safely protect his family.

text: Cast[edit]

text:
Nikolaj Coster-Waldau as Jacob Harlon / Money[4]
Omari Hardwick[5] as Kutcher, Money’s parole officer
Lake Bell[5] as Kate Harlon, Jacob’s wife
Jon Bernthal[5] as Frank "Shotgun", a former prison buddy and associate of Money, PEN1 member
Emory Cohen[5] as Howie, a young acolyte of Money and war veteran
Jeffrey Donovan[5] as Bottles, one of his key prison influences and PEN1 shot caller
Evan Jones[6] as Chopper, Money's former cellmate and associate of Shotgun
Benjamin Bratt[7] as Sheriff Sanchez, who is partnered with Kutcher
Holt McCallany[8] as Jerry "The Beast" Manning, an Aryan Brotherhood shot caller
Juan Pablo Raba as Herman Gómez,[9] Leader of the Sureños
Matt Gerald as Phil Cole, a parole officer chasing some gang members.[10]
Michael Landes[11] as Steve
Jessy Schram as Jennifer
Keith Jardine as Ripper, a member of the Nazi Low Riders
Chris Browning as Redwood / Toby Simms
Max Greenfield as Tom, Jacob’s best friend
Monique Candelaria as Lola Gomez, Herman’s wife

text: Production[edit]

text: On April 9, 2015, Bold Films came on board to fully finance and produce the crime thriller film, titled Shot Caller to be directed by Ric Roman Waugh, based on his own script.[12] Participant Media developed the project, while Participant's Jonathan King would produce along with Michel Litvak and Matthew Rhodes of Bold Films, along with Waugh.[12] In April 2015, Relativity Media acquired the US rights to the film for $3 million with a wide release commitment, and Sierra/Affinity was on board to handle international sales.[4] Due to the fact that Relativity Media filed for bankruptcy on July 2015,[13] the film's release was postponed until Saban Films acquired the U.S. distribution rights on April 2017.[14]

text: Principal photography on the film began on May 26, 2015 in Albuquerque and Santa Fe, New Mexico.[15][16]

text: Reception[edit]

text: Reviews for the film have been positive, with many reviewers praising Nikolaj Coster-Waldau's performance. On review aggregator website Rotten Tomatoes, the film has an approval rating of 74% based on 23 reviews, with an average score of 6.2/10.[17]