document_title: Wonder Woman (TV series)

question_text: when did the original wonder woman come out

root

text: Wonder Woman (TV series)

text: Production history[edit]

text: Wonder Woman refers to both a 1974 television film and  a 1975-1979 television series based on the DC Comics character of the same name. The 1974 television film called Wonder Woman directed by Vincent McEveety and starring Cathy Lee Crosby, was a pilot for an intended television series being considered by ABC. Ratings were described as "respectable but not exactly wondrous," and ABC did not pick up the pilot.[3]  Instead, Warner Bros. and ABC developed the 1975 television series, Wonder Woman, that fit the more traditional presentation of the character as created by William Moulton Marston, turning away from the 1968–72 era that had influenced the pilot. Wonder Woman, which premiered in 1975, starred Lynda Carter and eventually led to the full series. Crosby would later claim that she was offered the chance to reprise the role in that series.[4]

tag: p

text: Cast and characters[edit]

text: Lynda Carter as Diana Prince/Wonder Woman

tag: ul

text: Beatrice Colen as Etta Candy (season 1)

text: Richard Eastham as General Philip Blankenship (season 1)

text: Lyle Waggoner as Steve Trevor

text: Debra Winger as Drusilla/Wonder Girl

text: Notable guest stars[edit]

text:
Christine Belford as Baroness Von Gunther
Gary Burghoff as Alan in "The Man Who Wouldn't Tell"
Bradford Dillman as Arthur Deal III/Thor
Dick Gautier as Count Cagliosto in "Diana's Disappearing Act"
Lynda Day George as Fausta Grables
Bob Hastings as the Gatekeeper in "The Pied Piper"
Russell Johnson as the Colonel in "Disco Devil"
Carolyn Jones as Queen Hippolyta in "Feminum Mystique: Parts 1 & 2", & "Wonder Woman in Hollywood"
Cloris Leachman as Queen Hippolyta
Gavin MacLeod as Mr. Ellsworth
Roddy McDowall as Henry Roberts
Eve Plumb as Elena in "The Pied Piper"
Robert Reed as the Falcon in "The Pluto File"
Barry Van Dyke as Freddy in "Wonder Woman in Hollywood"

text: Plot[edit]

text: Pilot[edit]

text: Despite the muted ratings of the earlier Cathy Lee Crosby television pilot, ABC still felt a Wonder Woman series had potential, and within a year another pilot was in production. Keen to make a distinction from the last pilot, producers gave the pilot the rather paradoxical title The New Original Wonder Woman. Scripting duties were given to Stanley Ralph Ross, who was instructed to be more faithful to the comic book and to create a subtle "high comedy." Ross set the pilot in World War II, the era in which the original comic book began.

text: After an intensive talent search, Lynda Carter, who had had a handful of minor acting roles and had been the 1972 Miss World USA and a Bob Hope USO cast member, was chosen for the lead role. For the role of Steve Trevor, the producers chose Lyle Waggoner, despite his dark brown, almost-black, hair not matching the comic's blond Trevor, who at the time was better known as a comedic actor after several years co-starring in The Carol Burnett Show. He was also known to Ross as having been one of the leading candidates to play Batman a decade earlier, but instead Adam West was signed. Waggoner was also considered a pin-up hunk, having done a semi-nude pictorial in the first issue of Playgirl.[5]

text: Although the pilot followed the original comic book closely, in particular the aspect of Wonder Woman joining the military under the name Diana Prince, a number of elements were dropped. It mainly omitted Diana's origin, including her birth on Paradise Island. The comic book Diana obtains the credentials of a look-alike nurse. Although the pilot shows Diana briefly as a nurse at one point, Diana takes on the identity of a Navy Yeoman Petty Officer First Class.

text: One change, which was later to become synonymous with the show, was the transformation of Diana Prince into Wonder Woman by spinning. During the filming of the pilot, producers were trying to figure out a way to show how Diana Prince became Wonder Woman, when Carter suggested that she do a spin.[6]

text: Unlike the earlier pilot, the comic-book origins of the character were emphasized by the retention of the character's traditional uniform (the design of which was interpreted and executed by Donald Lee Feld, credited as "Donfeld") with the original setting and through the use of comic book elements. The series's title sequence was animated in the form of a series of comic book panels featuring Wonder Woman performing a variety of heroic feats. Within the show, location and exposition were handled through comic book-style text panels. Transitions between scenes and commercial breaks were marked by animated starburst sequences.

text: Synopsis[edit]

text: In early 1942, during the Second World War, American pilot Major Steve Trevor (Waggoner) bails out during an air battle over the Bermuda Triangle, location of Paradise Island.[7] The island is home to the Amazons: beautiful, ageless women with great strength, agility, and intelligence. Amazon princess Diana (Carter) rescues the handsome unconscious Trevor and helps nurse him back to health. Her mother, the Amazon queen (Cloris Leachman; succeeded by Carolyn Jones and Beatrice Straight in later episodes), decrees that Olympic-style games shall be held to select one Amazon to return Trevor back to America. But she forbids her own daughter Diana, the princess, to participate. Diana states that since she is not allowed to participate, she does not want to be present for the games and will take a retreat to the other side of the island. The games are held with participants wearing masks and numbers, shown as Roman numerals in triangles on white sleeveless short tunic-dresses. Among the contestants is a blonde Amazon. During the events, the blonde Amazon shows exceptional skills and she ties for first with another Amazon. To break the deadlock, the "bullets and bracelets" event is decided as the tiebreaker, wherein each of the women takes turns shooting at the other; the one being shot at must deflect the bullets with her bulletproof bracelets. The blond woman wins the event, superficially injuring her opponent's arm. When she is pronounced the winner, she removes her mask and wig and reveals that she is Diana. Her mother, though initially shocked, relents and allows her to go to America.

text: Diana's uniform as Wonder Woman, designed by Queen Hippolyta, features emblems of America, the land to which she will be returning Steve Trevor. A golden belt will be the source of her strength and power while away from Paradise Island. She has her bullet-deflecting bracelets and also receives a golden lasso which is unbreakable and forces people to obey and tell the truth when bound with it. As shown later in flashback, Hippolyta also teaches Diana how to transform her clothes magically into the uniform.

text: Diana, as Wonder Woman, flies to Washington, D.C. in an invisible plane. After dropping Trevor off at a hospital, the heroine stumbles upon a bank robbery, which she stops. A theatrical agent who sees her in action offers to help make her bullets and bracelets act a stage attraction. Diana is hesitant, but needing money in this new society, she agrees.

text: Meanwhile, Trevor's civilian secretary Marcia (Stella Stevens) is a double agent for the Nazi Fifth Columnists. She seeks to aid top spies in killing Trevor and opposing this new threat, Wonder Woman. Her first attempt is arranging for an accomplice to fire a machine gun at Wonder Woman during her stage act. Later, as spy activities increase, Trevor leaves the hospital but gets in a fight and is captured, prompting his "nurse" Diana to come to his rescue. Wonder Woman defeats Marcia in an extended fight sequence in the War Department. Having defeated Marcia, Wonder Woman thwarts a Nazi pilot who had plans to bomb the Brooklyn Navy Yard by using her invisible plane, and she rescues Trevor. With Marcia and the spy ring defeated, the film closes as Trevor and Brigadier General Blankenship talk about Trevor's new secretary whom Blankenship selected not only for her outstanding clerical test scores, but her decidedly plain appearance in contrast to Marcia: the bespectacled Yeoman First Class Diana Prince USNR(WR), Wonder Woman in disguise.

text: Season 1[edit]

text: The pilot film aired on November 7, 1975, was a ratings success, and ABC quickly authorized the production of two one-hour specials which aired in April 1976. These three productions would later be considered part of the show's first season. The episodes scored strong ratings, and ABC ordered an additional 11 episodes for the new 1976–77 TV season. The network began airing the episodes every few weeks apart at the beginning of the TV season in September 1976. After mid-December 1976, episodes aired on a weekly basis until mid-February 1977.

text: A few cast changes were made between the specials and the series. Former Happy Days recurring actress Beatrice Colen joined the cast as Corporal Etta Candy WAAC, General Blankenship's secretary, thereby providing YN1 Prince with a subordinate. Three episodes featured Debra Winger as Diana's younger sister, Drusilla, a.k.a. Wonder Girl, in one of her earliest acting roles.

text: One of the most memorable aspects of the show that was developed during the first season was the transformation sequence that changed Diana Prince into her superheroine alter ego.  The sequence in the original specials employed a slow fade between two synchronized shots, both filmed with an overcranked camera to create a slow motion effect. A twirling Diana Prince's hair would fall loose as the shot transitioned to a twirling Wonder Woman holding her Diana clothes, which she would stow nearby in a closet or locker. (How she changes back to Diana is never shown, although presumably she must return to the location to retrieve her clothes.) To ensure both segments transitioned smoothly the camera was locked off (secured in place) while Carter's clothing, make-up, and hair was altered between identities, a process Carter said on a DVD commentary typically took about 45 minutes. The spinning transformation was later incorporated into the comics and into animated appearances such as Justice League Unlimited. (Prior to the series in which Carter starred, the transformation was depicted in the comics by way of Diana spinning her magic lasso around her body, with the lasso changing her clothes, or by simply changing at super-human speed.)

text: The iconic explosion overlay most associated with the TV show was introduced after the third episode to mask the cut point between the Diana and Wonder Woman clips, meaning they no longer needed to be perfectly aligned. This allowed them to be shot without a locked off camera at more convenient points in the production schedule, when Carter was already in the appropriate costume.  The slow motion aspect of the sequence was dropped, and Wonder Woman was no longer left holding her Diana Prince clothes.  A thunderclap sound effect accompanied the explosion effect; both the explosion flash and its sound are apparently non-diegetic (only heard by the audience, not within the narrative world), as demonstrated by Diana changing unnoticed in a dormitory of sleeping women, in adjoining office spaces, etc.  Generally the audience never sees Wonder Woman change back to Diana Prince, although there is one occasion when it is almost shown: Wonder Woman reveals her secret identity to her little sister Drusilla by slowly turning on the spot, but the actual moment of transformation is masked by a cut-away reaction shot of Drusilla (no thunderclap was heard).

text: During season one, Wonder Woman has the ability to impersonate anyone's voice, which came in handy over the telephone. She did not use this ability during seasons two and three.

text: The series began at a time when violence on television was under intense scrutiny. As a result, Wonder Woman was less frequently seen punching or kicking people the way she did in the early episodes. She would usually be shown pushing and throwing enemies or using creativity to get them to somehow knock themselves out (such as jumping high into the air to cause pursuers to collide). Despite the wartime setting, she almost never resorted to deadly force. The only exception occurs in the pilot episode when she sinks a German U-boat by crashing an airplane into it, presumably killing everyone aboard. Wonder Woman herself was occasionally overpowered by chloroform and poison gas, but she always came back in the second half of the show to save the day. In some episodes, her enemies learn the secret of her superhuman strength – her magic belt – and temporarily steal it, leaving her with average human strength. Her indestructible lasso and bracelets were stolen or taken away in one episode (leaving her defenseless against gunfire), but Wonder Woman recovered them by the end of the episode. (In the comics, Wonder Woman's bracelets were welded onto her forearms, and she would lose most of her strength if men were to join them forcibly with metal.)

text: Season 2 establishes that Wonder Woman remained active from 1942 to 1945 and was honored by Franklin D. Roosevelt for her work against Axis attacks.[8]

text: Season 2[edit]

text: Despite good ratings for the series, ABC stalled on picking up the show for a second season. This was because Wonder Woman was a period piece, being set in the 1940s, which made the set, clothing, automobiles, etc. more expensive to produce. While ABC had not yet committed, the show's production company Warner Bros. listened to an offer from rival network CBS. While ABC continued to make up its mind, CBS agreed to pick up the series on condition that the setting be changed from World War II (the 1940s) to the modern day (the 1970s). Changing the title to The New Adventures of Wonder Woman, the series was moved away from international intrigue to a more conventional police/detective action-type show that was more common in the 1970s.

text: Princess Diana, aging slowly because of her Amazon nature, returns from Paradise Island after a 35-year absence (looking virtually the same) to become an agent with the Inter-Agency Defense Command (IADC), a CIA / FBI-type organization fighting crime, espionage, and the occasional alien invasion.

text: Strictly speaking, Lynda Carter was the only cast member whose character continued into the second and third seasons (aside from a brief cameo appearance of Major Trevor (Lyle Waggoner) in Diana's flashback when she first encountered his son and a framed photograph of him seen on the younger Trevor's office credenza in season 3). The original Steve Trevor was revealed to have risen to the rank of major general and died in the 35-year interim between the first and second seasons, although Lyle Waggoner remained with the series, portraying Trevor's son, Steve Jr.

text: As a child, Steve Jr. had heard his late father's stories of adventures with Wonder Woman during World War II.[8] It is essentially confirmed in the second season première that his father never introduced him to Wonder Woman and that he had never even seen her photographed. It is similarly implied that he and YN1 Diana Prince were unaware of each other. Diana is taken aback by the younger Steve's existence, implying that his father had never spoken of the boy to either Wonder Woman or YN1 Prince. This was particularly striking when she spoke to Steve Jr. about knowing his father well, from the j-shaped burn scar on his right shoulder, to the 20mm shell casing that he used as a paperweight.

text: Despite (or perhaps because of) the fact that Wonder Woman had fallen in love with the first Steve Trevor, the producers chose to drop any suggestion that Steve Jr. and Wonder Woman were anything more than good friends. Indeed, when an impostor posing as Steve Jr. attempted to seduce Diana, she made it quite clear that she had no sexual interest in him. Executive producer Douglas S. Cramer noted the difficulties in maintaining long-term romantic tension between leads, because the resolution of that romantic tension often results in the cancellation of the series.[9]

text: Since Waggoner returned in a technically new role, Diana's mother Hippolyta was the only other first season character to be seen or mentioned, though she was played by a new actress, Beatrice Straight, succeeding Carolyn Jones and Cloris Leachman in the role. The post-war fates of General Phil Blankenship, Etta Candy, and Drusilla / Wonder Girl were never revealed.

text: Diana, Steve and Joe Atkinson (Norman Burton), a weathered IADC agent, received their orders from a "Charlie's Angels-like" character who is heard but never seen. Diana and Steve would go out and work the field while Joe assisted from the office. The Atkinson character was dropped after the ninth episode of this season, and Steve was given a promotion, becoming IADC Director, and Diana's boss, in the process. This promotion for Steve Trevor meant that Lyle Waggoner was seen less in subsequent episodes for the remainder of the series' run. In this season, the computer IRAC (Information Retrieval Associative Computer), more informally known as "Ira," was introduced: its first appearance is in season 2, episode 1, where Diana introduces her Diana Prince identity into its records, over IRAC's protests. Ira was the IADC's super-intelligent computer, who deduces that Diana Prince is really Wonder Woman, although he never shares this information with anyone, except Diana herself. Saundra Sharp joined the cast as Eve, Steve's assistant (the job held by Diana at the start of the season). Towards the end of the season, in the episode "IRAC is Missing," a small mobile robot called Rover was added for comic relief. An offshoot of IRAC who performs duties such as delivering coffee and sorting mail, Rover speaks with a high-pitched voice, occasionally makes "Beep Beep" sounds and, like IRAC, is aware that Wonder Woman's secret identity is Diana Prince.

text: The theme song was re-written to remove references to the Axis, reflecting the series' new present-day setting, and the action depicted in the opening's animated comic book panels was similarly updated. Beginning with the episode "The Man Who Made Volcanoes," the opening title sequence was changed again to an instrumental and more traditional "action scenes" opening. The animated stars used before and after commercial breaks were dropped.

text: The producers of Wonder Woman generally maintained her no-kill policy, although there were exceptions: In the episode "Anschluss '77" she is forced to destroy a clone of Adolf Hitler. Another episode made reference to a villain who was believed drowned following a previous unseen encounter with Diana/Wonder Woman.

text: Unlike in the first season, Wonder Woman's sources of power (magic belt, bracelets, golden lasso) were never removed from her and stolen by villains during the two years the series was set in the 1970s.

text: Other changes in season two included a slight redesign (again by Donald Lee Feld, still credited as "Donfeld") of Wonder Woman's uniform. The bustier was more flexible, featured less gold metal in the eagle wings in favor of red cloth background, and was cut lower to highlight Carter's décolletage and cleavage. The star-spangled bottoms were cut higher in the thighs, with the number of stars reduced, stopping below her hips, and rearranged in a more symmetrical starburst pattern.  The bracelets changed from dull silver-grey to bright gold, and were noticeably smaller and thinner. Her tiara, appearing unchanged when on Wonder Woman's head, would flatten to become a boomerang, and its ruby star functioned as a communications link to Paradise Island and her mother the queen.

text: Feld also introduced multiple new variants on Wonder Woman's uniform beginning in season two. She still wore the red-white-and-blue cape for special events or appearances from the first season, but without the skirt. (This variant could be described as Wonder Woman's "full-dress uniform.") A diving uniform was introduced—this consisted of a navy-blue lycra body suit with matching gloves, gold bracelets, flat boots, and a flexible tiara; this was featured whenever aquatic activity was required. The same uniform, with low-heeled boots and a gold helmet, was used to ride motorcycles. At first, Wonder Woman would switch to these newer uniforms by performing an extended spin in which she first changed from her Diana Prince clothes to Wonder Woman's standard uniform, then continued to spin until a second light explosion occurred and she would appear in one of the newer variants. However, this extended spin device was dropped for expediency and Diana was then able to change into any of Wonder Woman's uniforms in a single change.

text: Wonder Woman's invisible plane appeared a couple of times in season two, and not at all in season three. The plane's shape was updated with the change in temporal setting, losing the rounded fuselage and modestly curved wings evocative of a World War II-era pursuit-fighter, in favor of a dart-like, delta winged jet.

text: Season 3[edit]

text: With the beginning of the third season, further changes were made to target the show at a teenage audience. The title theme was re-recorded again to give it a disco beat, the use of the robot 'Rover' was increased for comic effect, and episodes began to revolve around topical subjects like skateboarding, roller coasters and the environment. (Feld also gave Wonder Woman a "skate-boarder's" uniform, which was also capable of use for training in any "extreme sport" in which she participated.) Teenagers or young adults were commonly used as main characters in the plot lines. Eve disappeared from the cast although she is mentioned once or twice. Episodes during this season showed Diana on assignments by herself far more often (particularly outside of Washington DC), and Steve Trevor had become Diana's boss and was seen less.

text: Wonder Woman was also allowed to become a bit more physical in the third season and could now be seen throwing the occasional punch or kicking. The writers also came up with several unusual ways for Diana to execute her spinning transformation, the most notable instances occurring in the episode "Stolen Faces" in which Diana makes the change while falling off a tall building, and the season two episode "The Pied Piper" in which she changes while strapped into a spinning chair.

text: Diana also exhibited other powers, particularly in the episode "The Deadly Dolphin," in which she is shown communicating telepathically with animals (reminiscent of the "mental radio" from the comics, which was never shown on the series) and generating bursts of an unknown form of energy to scare away a killer shark.

text: In the final episode produced, the writers attempted a "relaunch" of sorts by having Diana reassigned to the Los Angeles bureau of IADC with a new supporting cast. Though done in anticipation of a fourth season, the revamp was seen for only a single episode ("The Man Who Could Not Die"), which set up an assortment of new supporting characters. These included Dale Hawthorn, Diana's new IADC boss, Bret Cassiday (Bob Seagren), a genetically enhanced man who was indestructible (the titular character of the episode), as well as a streetwise youngster named T. Burton Phipps III who inexplicably is allowed to hang out at the IADC. Also added to the cast was a chimpanzee who, like Bret, is also indestructible. This episode was actually the last to be produced and should have ended the third season, but was shown out of sequence with the two-parter "The Phantom of the Roller Coaster." These final three episodes aired by themselves in August–September 1979, months after the broadcast of the rest of season three, creating a mini-season, though they remain grouped as part of season three as opposed to being considered an abbreviated fourth season.

text: CBS ultimately decided to move The Incredible Hulk up to the Friday 8:00 hour from 9:00 to introduce the new series The Dukes of Hazzard, but no further episodes of Wonder Woman were produced due to the lack of new cast members for a fourth season and low ratings. After her first musical television special, Carter gave up the role to focus more on her musical career.[citation needed]

text: Wonder Woman '77 Comic[edit]

text: In October 2014, DC announced an ongoing comic book series set in the Lynda Carter TV series continuity. The comic was written by Marc Andreyko.[10] It was first published as digital chapters on DC Comics' website. Wonder Woman '77 Special #1 was published in May 2015. A second Wonder Woman '77 Special collecting further digital first chapters was published in September 2015.[needs update]. A third special was published in April 2016. Wonder Woman teams up with Jaime Sommers in the crossover title Wonder Woman ’77 Meets the Bionic Woman.[11][12] Wonder Woman teams up with Batman in the crossover team up Batman' 66 Meets Wonder Woman '77 writing by both Andreyko and Jeff Parker.[13]

text: Legacy[edit]

text: This portrayal of the character strongly influenced the Wonder Woman comics. Most notably, the ballerina-style spinning transformation was incorporated into the comics. The spin has also been used in the animated television programs Super Friends and Justice League Unlimited.[14]

text: Reruns[edit]

text: This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2017) (Learn how and when to remove this template message)

tag: table

text: Reruns of Wonder Woman aired in syndication during the 1980s. It also aired on FX and Sci-Fi Channel in the 1990s and early 2000s.

text: Beginning on December 28, 2013, the show airs Saturday evenings on the classic TV network Me-TV.

text: In the UK, the series has been syndicated on several channels. In 2006, Living broadcast the show every weekend as part of "Hangover TV". As of 2015, the series is shown on The Horror Channel and can also be seen on the MeTV network.

text: Home video releases[edit]

text: Columbia House with Warner Home Video released the series on VHS videotapes through their Wonder Woman: The Collector's Edition series from the late 1990s-early 2000s, which was only available through mail order subscriptions. Each volume contained two episodes. The Season Two episodes "The Pied Piper" and "Flight To Oblivion," however, were not included on the VHS releases.[14]

text: Warner Home Video has released all three seasons of Wonder Woman on DVD in various regions, both separately and in a collected edition.

text:
DVD name

Eps.

Release date

Details

The Complete 1st Season

14

June 29, 2004

All 14 episodes (including the pilot) with commentary by Lynda Carter and executive producer Douglas S. Cramer; new documentary retrospective

The Complete 2nd Season

22

March 1, 2005

21 episodes plus a feature-length season premiere; Bonus documentary: "Revolutionizing a Classic: From Comic Book to Television"

The Complete 3rd Season

24

June 7, 2005

Audio commentary by Carter on "My Teenage Idol is Missing"; featurette: "Wonder Woman: The Ultimate Feminist Icon"; The initial Region 1 release included a bonus DVD containing the first episode of the Captain Marvel television series Shazam!, "The Joy Riders"

The Complete Collection

60

November 6, 2007

Pilot with commentary by Lynda Carter and executive producer Douglas S. Cramer; new documentary retrospective; Bonus documentary: "Revolutionizing a Classic: From Comic Book to Television"; Audio commentary by Carter on "My Teenage Idol is Missing"; featurette: "Wonder Woman: The Ultimate Feminist Icon"

text: The pilot episode is included as a bonus feature on the February 23, 2010 Blu-ray release of Justice League: Crisis on Two Earths.[15]

text: The complete series has been remastered in high definition and transformed to a more modern 16:9 widescreen format. This version is available for purchase on iTunes.

text: Merchandising[edit]

text: Mego Corporation released a line of dolls in 1976 to correspond with the TV series. The boxes originally featured Lynda Carter as Wonder Woman on the front flap. However, in 1977, her image on the box was dropped and the line was revamped with only the Wonder Woman doll being featured and revised.

text: The Mego dolls included Wonder Woman, Diana Prince, Queen Hippolyta, Nubia, and Steve Trevor.[16] The line also included separate fashion outfits for Diana Prince that were released in Canada.[17] Various playsets were also created but were not released for sale.[18]

text: DC Direct (which creates merchandise for DC Comics) released a Wonder Woman statue in 2007 which is based upon the image created by Lynda Carter.

text: In 2015, Hallmark released a Wonder Woman Christmas ornament bearing the likeness of Lynda Carter that also plays the intro to the television theme song.

text: In July 2016, prior to Comic-Con International, the New York Times ran a story about Dynamite Entertainment. In it, best-selling author Andy Mangels was revealed to be writing a prestigious new intercompany crossover mini-series for the company, in conjunction with DC Comics: Wonder Woman '77 Meets The Bionic Woman, bringing together the Lynda Carter television character with Lindsay Wagner's fellow 1970s television super-heroine. The series was released in December 2016.[11]

text: Possible animated film[edit]

text: After the success of Batman: Return of the Caped Crusaders, animated film based on the Batman TV series of the 1960s, Warner Bros. had stated that their executives are considering to make an animated film based on the classic Wonder Woman TV series, with Lynda Carter reprising her role by voicing the character;[19] along with an animated adaptation of the comic series Batman/Teenage Mutant Ninja Turtles.


document_title: The Dresden Dolls

question_text: where did the dresden dolls get their name

text: The Dresden Dolls

text: Career[edit]

text: Band formation and name[edit]

text: The duo formed a week after Brian Viglione witnessed Amanda Palmer perform solo at a Halloween party in 2000. Their live performances soon gained them a cult following. During these performances the two band members often wore dramatic make-up and fancy clothing that pushed their cabaret/theater aesthetic. They encourage fans to become involved at their shows, with the fans' own stilt walking, living statues, fire breathers, and other performance art becoming an integral part of the show. The Dirty Business Brigade coordinated the fans' performances.[4][5]

text: The band's first name was Out of Arms.[6] At some point, the name became The Dresden Dolls. The name, according to Palmer, was "inspired by a combination of things," including the firebombing of Dresden, Germany and the porcelain dolls that were a hallmark of pre-war Dresden industry; an early song of the same name by The Fall; and a reference to the V. C. Andrews novel Flowers in the Attic, where the classically blond-haired and blue-eyed protagonists are called "the Dresden dolls". The name also evokes Weimar Germany and its cabaret culture. Additionally, Palmer "liked the parallel between Dresden (destruction) and Dolls (innocence, delicacy), because it is very much in keeping with the dynamics of the music, which sometimes goes from a childlike whisper to a banshee scream within a few seconds."[7]

text: Growing fame and performances[edit]

text: The duo was featured in a webcast performance at the 2002 Ig Nobel Prize ceremony in Cambridge, Massachusetts.[8] After a self-promoted demo recorded and released in 2001, their first release was the mostly live compilation A Is for Accident (Important Records), followed in 2003 by a self-titled debut produced and recorded by Martin Bisi (Swans, Sonic Youth) at The Old American Can Factory in Gowanus, Brooklyn. The album features fellow Boston-area musicians Ad Frank (guitar on "Good Day") and Shawn Setaro (bass on "Good Day," "Gravity", and "Jeep Song").[9] Two songs off the album ranked in the Triple J Hottest 100, 2004: "Girl Anachronism" at number 30 and "Coin-Operated Boy" at number 12.[10] In 2003 they were crowned the winners of Boston's long-running WBCN Rock & Roll Rumble.[citation needed]

text: On October 6, 2005, The Dresden Dolls were interviewed by the subject of one of their songs, Christopher Lydon, on the radio show Open Source.[11]

text: Tours, festivals, books, and theater[edit]

text: In March 2005, the duo supported Nine Inch Nails on tour. On June 5, The Dresden Dolls hosted a free concert at the Paradise Rock Club in Boston. When a power outage unexpectedly delayed their performance, city streets became a temporary stage for some of the many performers (living statues, stilt-walkers, and fire-breathers) who had come from across the world to entertain audiences. The entire event—concert and street performances—was filmed and the resulting DVD, Live: In Paradise, was released in Europe on October 10, 2005 and in North America on November 22, shortly after the band's fall 2005 tour.[12]

text: The Dresden Dolls' second studio album, Yes, Virginia..., was released on April 18, 2006.[13]

text: Over the summer of that year, the duo performed at South by Southwest, Bonnaroo, Britain's Reading and Leeds Festivals, and Lollapalooza, in addition to touring with Panic! at the Disco as their opening act. During the support tour, the band presented "Fuck the Back Row—A Night of Celluloid Vaudeville". The events consisted of screenings of short films from friends and fans, performances by local artists, and a solo show by Palmer who performed mostly cover songs inspired from film soundtracks.[14]

text: In June 2006, The Dresden Dolls Companion[15] was released by Amanda Palmer. The book contains a history of the band and their first album—The Dresden Dolls—as well as a partial autobiography. The book also contains the lyrics, sheet music, and notes on each song on the album, as well as a DVD featuring a 20-minute interview with Palmer about the origins of the band and the first LP. The interview was conducted by a friend while Palmer compiled the artwork for the first LP.

text: On August 16, the East Providence Community Theatre in East Providence, Rhode Island premiered a full-length, fan-written jukebox musical, The Clockwork Waltz, featuring songs from The Dresden Dolls' three albums. The show was encouraged by the band and their management.[16]

text: In December 2006 and January 2007, the music of The Dresden Dolls was featured in an original production—The Onion Cellar—at the American Repertory Theatre's Zero Arrow Theatre in Cambridge, Massachusetts.[17][18] The play is co-authored by Amanda Palmer, from her original concept.

text: On January 14, 2007, the duo took a temporary hiatus. Palmer worked on her solo album, Who Killed Amanda Palmer, while Brian Viglione toured with Boston-based HUMANWINE[19] and other local Boston acts, along with touring with Jesse Malin and offering drum clinics.

text: In June 2007, they joined the True Colors Tour 2007,[20] including their debut in New York City's Radio City Music Hall[21] and their first review in the New York Times.[21]

text: On July 10, 2007, the DVD, Live at the Roundhouse, was released in the U.S.

text: From December 27, 2007 to January 13, 2008, their Winter Tour started at the Sixth & I Historic Synagogue in Washington, DC, and ending at The Norva in Norfolk, Virginia.[22]

text: On January 15, 2008, they entered the studio to record new material for their third studio album, No, Virginia... Released on May 20, 2008, it is a collection of B-sides and rarities, along with new recordings of old favorites and cover songs that were previously only available as live versions. The album spawned the single, "Night Reconnaissance".

text: July 2008 saw the release of the second Dresden Dolls book, the Virginia Companion.[23] It is a follow-up to the Dresden Dolls Companion, featuring the music and lyrics from the Yes, Virginia... and No, Virginia... albums.

text: Hiatus[edit]

text: In September 2008, rumors began to circulate about the future of the whole band. Viglione confirmed that the band was on hiatus but emphasized that he and Palmer are on good terms and that they will get together again when it feels right for both of them.[24][25] In late July and early August 2009, a rumor began to spread that the band was "reuniting for performances in 2010" but Palmer clarified in her blog on August 7: "There's been a ton of press lately re-printing an old quote from an old interview that's now blown up into a full-fledged press rumour that Brian and I have planned Dresden Dolls' shows for 2010. Not true. We aren't planning any shows. Sorry about that, blame the gossip whores."[26]

text: 2010 reunion tour[edit]

text: In 2010, a reunion tour to selected venues in the United States occurred. It started on Halloween in New York City and ended in San Francisco on New Year's Eve.[27]

text: 2011/2012 tour[edit]

text: The Dresden Dolls played a show in Mexico City on December 9, 2011.[28] They had a tour of New Zealand and Australia in January 2012, supported by The Jane Austen Argument in Australia,[29] and Hera, House of Mountain and Princess Chelsea in New Zealand.[30]

text: On April 15, 2015, they had a show in New York to celebrate Record Store Day and promote the release of The Virginia Monologues.[31]

text: Discography[edit]

text: The Dresden Dolls (2001)

text:
The Dresden Dolls (2003)
Yes, Virginia... (2006)

text: A Is for Accident (2003)

text:
No, Virginia... (2008)
The Virginia Monologues (2015)

text: Musical style and influences[edit]

text: The Dresden Dolls are arguably the most commercially successful dark cabaret band, bringing more mainstream attention to the still fairly underground genre.[citation needed] Their piano and drum driven rock music, incorporated into alternative rock[32] song structures with piano replacing the rhythm guitar, has seen them fall into the piano rock genre.[33][34] In her influences, Palmer named Cyndi Lauper, Laurie Anderson, Kate Bush[35] and Siouxsie Sioux.[36] She was also inspired by the likes of Bauhaus, The Cure, The Legendary Pink Dots, Robyn Hitchcock and Nick Cave.[35]

text: Awards and honors[edit]

text: 2005: WFNX/Boston Phoenix Best Music Poll, Best Local Act and Best Local Album.[37]

text: Bibliography[edit]

text:
Palmer, Amanda (2006). The Dresden Dolls Companion. New York: Eight Foot Music. ISBN 978-1-57560-888-4.
Palmer, Amanda; Brian Viglione (2008). The Dresden Dolls: The Virginia Companion. [New York]: Cherry Lane Music Company. ISBN 1-60378-079-3. OCLC 232127008.


document_title: Contagion (film)

question_text: who is used to test experimental vaccines in contagion

text: Contagion (film)

text: Plot[edit]

text: Returning from a Hong Kong business trip, Beth Emhoff (Gwyneth Paltrow) has a layover in Chicago to rendezvous with a former lover before returning to her family in suburban Minneapolis. She appears to have contracted a cold during her trip. Her six-year-old son from a previous marriage, Clark, also becomes symptomatic and is sent home from school. Beth's condition worsens and two days later she collapses with severe seizures. Her husband, Mitch (Matt Damon), rushes her to the hospital, but she dies of an unknown cause.

text: Mitch returns home and finds that Clark has also died from a similar infection. Mitch is placed in isolation but seems to be immune to the disease. He is released and returns home to his teenaged daughter Jory, who had been living with Mitch's former wife and her husband and has decided to stay with Mitch since he's now all alone. As more and more persons become infected with no cure in sight, they face decaying social order and rampant looting of stores and homes. Mitch is unsure if Jory has inherited his immunity and he struggles with the frustration of quarantine, his desire to protect his daughter and learning that his wife was unfaithful to him immediately prior to both her death and that of his stepson.

text: In Atlanta, representatives of the Department of Homeland Security meet with Dr. Ellis Cheever (Laurence Fishburne) of the CDC and express fears that the disease is a bio weapon intended to cause terror over the Thanksgiving weekend. Dr. Cheever dispatches Dr. Erin Mears (Kate Winslet), an Epidemic Intelligence Service officer, to Minneapolis to begin investigating. Mears traces the outbreak back to Emhoff while negotiating with local bureaucrats initially reluctant to commit resources for a proper public health response to the virus. Dr. Mears later becomes infected and dies.

text: At the CDC, Dr. Ally Hextall (Jennifer Ehle) determines the virus is a mix of genetic material from pig and bat viruses. Work on a cure stalls because scientists cannot discover a cell culture within which to grow the newly identified Meningoencephalitis Virus One (MEV-1).

text: UCSF professor Dr. Ian Sussman (Elliott Gould) violates orders from Cheever (relayed through Hextall) to destroy his samples, and identifies a usable MEV-1 cell culture using bat cells. Hextall uses the breakthrough to work on a vaccine. Other scientists determine the virus is spread by fomites, with a basic reproduction number of four when the virus mutates, with projections of one in twelve of the population being infected, and a 25-30% mortality rate.

text: Conspiracy theorist Alan Krumwiede (Jude Law) posts videos about the virus on his popular blog. In one video, he shows himself sick and later claims he recovered using a homeopathic cure derived from forsythia. In a panic, people seeking forsythia overwhelm pharmacies, spreading and accelerating the contagion as the infected come into contact with healthy people.

text: Krumwiede's claims attract national attention. During a television interview he discloses that Dr. Cheever had secretly informed friends and family to leave Chicago just before the city was quarantined. Cheever is then informed the government will investigate and may charge him for leaking information. Later it is revealed Krumwiede had faked being infected by the virus in an attempt to increase profits for shareholders in companies producing and selling forsythia. Krumwiede is arrested for conspiracy and securities fraud, only to walk free when his many supporters successfully raise funds to provide for his bail.

text: Using an attenuated virus Dr. Hextall identifies a possible vaccine. To cut out the lengthy time it would take to obtain informed consent from infected patients, Dr. Hextall inoculates herself with the experimental vaccine and immediately visits her gravely ill father (Dan Flannery), who has been infected with MEV-1. The doctor does not contract MEV-1 and the vaccine is declared a success.

text: The vaccine's production is rapidly increased, but due to limited production, the CDC awards vaccinations by lottery based on birth date. Inoculations take place for one full year until every survivor is vaccinated. First responders, doctors and others designated by the government are declared exempt from the lottery. Dr. Cheever gives his fast-tracked MEV-1 vaccination to the son of Roger (John Hawkes), a CDC janitor who had overheard Dr. Cheever's phone call warning his girlfriend to leave Chicago.

text: Dr. Leonora Orantes (Marion Cotillard), a WHO epidemiologist, travels to Hong Kong to follow the Beth Emhoff lead. She collaborates with Sun Feng (Chin Han) and other local epidemiologists and public health officials; they identify Emhoff as patient zero. As the virus spreads, Feng kidnaps Orantes to use her as leverage to obtain MEV-1 vaccine doses for his village. Orantes spends months living with the villagers until the vaccine is announced. Feng exchanges Orantes for the vaccine doses. Her colleague mentions that the exchanged doses were placebos and Orantes rushes away to warn them.

text: The death toll at least reached 2.5 million in the U.S. and 26 million worldwide. Dr. Hextall places samples of MEV-1 in cryogenic storage, alongside samples of H1N1 and SARS.

text: The source of the virus is revealed to viewers. A bulldozer (coincidently, operating for the company Emhoff worked for) knocks down a palm tree disturbing some bats, with one finding shelter and food in a banana tree. That bat then flies over a pig pen, dropping a chunk of banana from its mouth, which is then eaten by a piglet. Chinese chefs later collect pigs from the pen and take them to a Hong Kong casino. A chef is called away from his preparations of a piglet, and casually wipes his hands on his apron. The chef then shakes hands with Beth Emhoff, giving her the mix of bat and pig viruses that makes her patient zero and the origin of the MEV-1 virus.

text: Cast and characterizations[edit]

text: Marion Cotillard as Dr. Leonora Orantes, an epidemiologist with the World Health Organisation

text: Matt Damon as Mitch Emhoff

text: Laurence Fishburne as Dr. Ellis Cheever

text: Jude Law as Alan Krumwiede

text: Gwyneth Paltrow as Elizabeth "Beth" Emhoff

text: Kate Winslet as Dr. Erin Mears, an Epidemic Intelligence Service officer

text: Jennifer Ehle as Dr. Ally Hextall, a research scientist with the Centers for Disease Control and Prevention

text: Elliott Gould as Dr. Ian Sussman

text: Chin Han as Sun Feng

text:
Bryan Cranston as Rear Admiral Lyle Haggerty, United States Public Health Service Commissioned Corps
John Hawkes as Roger, CDC custodian and acquaintance of Dr. Cheever
Dan Flannery as Hextall's father
Anna Jacoby-Heron as Jory Emhoff, daughter of Mitch Emoff
Josie Ho as Li Fai's sister
Sanaa Lathan as Aubrey Cheever, fiancée of Dr. Cheever
Demetri Martin as Dr. David Eisenberg, CDC colleague of Dr. Hextall
Armin Rohde as Damian Leopold, a WHO official
Enrico Colantoni as Dennis French, a Department of Homeland Security official
Larry Clarke as Dave, a Minnesota health official working with Dr. Mears
Monique Gabriela Curnen as Lorraine Vasquez, a print journalist in San Francisco
Amr Waked as Rafik
Matt Motyka as Minnesota Body Burial Worker

text: Production[edit]

text: Conception and writing[edit]

text:
There's a scene in The Informant! where Matt (Damon) is watching Scott Bakula's character talk on the phone and Scott coughs on the phone, and there's this whole rant that Matt goes off on of 'Oh, great, now what happens? He gets sick and then I'm going to get it, my kids are going to get it.' I've always been fascinated by transmissibility, so I said to Steven, 'I want to do an interesting thriller version of a pandemic movie' and he said, 'Great! Let's do that instead.'
“
”

Scott Z. Burns.[5]

tag: div

text: Concerted efforts to devise Contagion coincided with Burns' collaboration with Soderbergh in The Informant! (2009).[5] The duo had initially planned to create a biographical film on Leni Riefenstahl, a trailblazer in German cinema during the 1930s and a figure in the rise of the Nazi Party. Soderbergh later contacted Burns to cancel the project, as he thought that a film about Riefenstahl would struggle to attract an audience.[5] Intrigued with the field of transmission, Burns suggested that they instead create a film that centered on a pandemic situation—"an interesting thriller version of a pandemic movie". His main objective was to construct a medical thriller that "really felt like what could happen".[5]

text: Burns consulted with Lawrence "Larry" Brilliant, renowned for his work in eradicating smallpox, to develop an accurate perception of a pandemic event.[5] He had seen one of Brilliant's TED presentations, which he was fascinated by, and realized that "the point of view of people within that field isn't 'If this is going to happen', it's 'When is this going to happen?'"[5] Brilliant introduced Burns to another specialist, W. Ian Lipkin. With the aid of these physicians, the producers were able to obtain additional perspectives from representatives of the World Health Organization.[5] Burns also met with the author of The Coming Plague, Laurie Garrett. Her 1995 book helped Burns consider a variety of potential plots for the film. He wanted to feature an official from the CDC, and ultimately decided to use an epidemiologist, since that role requires interacting with people while tracking the disease.[5]

text: Although he had done research on pandemics six months prior to the 2009 flu pandemic, the outbreak was "really helpful" to his studies, because it provided a glimpse of the societal apparatus following the onset stages of a pandemic. To him, it was not solely the virus itself that one had to be concerned about, but how society handles the situation.[5] "I saw them come to life", Burns said, "and I saw issues about, 'Well, do you close the schools and if you close the schools, then who stays home with the kids? And will everyone keep their kids at home?' Things happening online, which is where the Jude Law character came from, that there's going to be information that comes out online where people want to be ahead of the curve, so some people will write things about anti-virals or different treatment protocols, and so there's always going to be an information and that information also has sort of a viral pulse."[5]

text: Filming[edit]

text: In conjunction with overseeing the directing process, Soderbergh functioned as a cinematographer for Contagion.[3] The film was wholly shot using Red Digital Cinema Camera Company's RED One MX digital camera, which uses ambient light and has a 4.5K image resolution.[3][9] Since he hoped for the premise to be authentic and "as realistic as possible", Soderbergh opted not to film in the studio. "There's, to me, nothing more satisfying occasionally than making someplace look like someplace else on film and having nobody know the difference."[10] For choosing cities, Soderbergh felt that they couldn't "go anywhere where one of our characters hasn't been", since he wanted to portray an "epic", yet "intimate" scenario.[6] He explained,

text: We can't cut to a city or a group of extras that we've never been to that we don’t know personally. That was our rule. And that’s a pretty significant rule to adhere to in a movie in which you're trying to give a sense of something that’s happening on a large scale, but we felt that all of the elements that we had issues with prior, when we see any kind of disaster film, we're centered around that idea.[6]

text: Principal photography started in Hong Kong in September 2010,[3] and continued for approximately two weeks.[5] Soderbergh was originally hoping to also film in mainland China, though Moviefone journalist David Ehrlich believed that permission from the Chinese government was unlikely to be forthcoming.[11] Although producers also intended to establish a filming location in one of the many casinos in Macau, the Jumbo Floating Restaurant in Hong Kong's Aberdeen Harbour was used instead for the casino setting, as filming within the vicinity of a gambling establishment is prohibited by law.[3] To move the equipment for the casino scenes to the on-the-water location, producers hired a number of locals to carry out the task, as they were accustomed to "using sampans like trucks".[3] Additional locations included the Hong Kong International Airport, InterContinental Hong Kong, and the Princess Margaret Hospital.[3]

text: Principal photography relocated in the following month to Chicago, Illinois, which served as the nexus for production.[3] Much of the cityscape and its surrounding suburbs were used to emulate Minneapolis, Minnesota, and Atlanta, Georgia, in addition to serving as backdrop for Chicago itself.[3] Since principal photography occurred during the winter months, snowfall was a prerequisite in simulating a "persistent coldness" that encompassed "a hypersensitive kind of glare".[3] Within the city limits, filming locations were installed at the Shedd Aquarium,[12] O'Hare International Airport, and the Midway Airport.[3] Arguably the largest sets were at the General Jones Armory, which was converted into an infirmary, and a major location shoot occurred in Waukegan, where a portion of the Amstutz Expressway was used to simulate the Dan Ryan Expressway.[3][13] Production also took place at Sherman Hospital in Elgin and Central Elementary School in Wilmette, and also in Downtown Western Springs, where the grocery store scene was filmed.[3]

text: Filming moved once again in January 2011 to the Druid Hills quadrant of Atlanta, which contains the headquarters of the Centers for Disease Control and Prevention. The restricted nature of the CDC campus meant that producers were only allowed to shoot exterior scenes of the area, as well as within the parking garage and reception area for the CDC's museum onsite.[14] Principal photography then proceeded into Atlanta's central business district and Decatur,[14] before advancing to London, Geneva, and lastly San Francisco, California, in the ensuing month.[15] The San Francisco Film Commission charged filmmakers $300 per day for production within the city limits.[15] In the North Beach and Potrero Hill sections of the city, production designer Howard Cummings scattered trash and discarded clothing on the ground to depict the rapid decline of civilization.[3] For the Civic Center set, over 2,000 extras were sought for in background roles; actors who were a part of the Screen Actors Guild were paid $139 per day, while nonunion workers received $64 per day for their work.[16] Other filming locations were established at Golden Gate Park, Chinatown, and Candlestick Park; it cost $60,000 to rent the football stadium for six days.[3][15]

text: Soundtrack[edit]

text: Cliff Martinez composed the film's soundtrack, which was his first score for Soderbergh since Solaris in 2002.[17] Given that the pacing of the music was one of Soderbergh's biggest concerns, Martinez needed to maintain a brisk pace throughout the soundtrack, while also conveying fear and hope within the music.[17] "I tried to create the sound of anxiety. And at key, strategic moments I tried to use the music to conjure up the sense of tragedy and loss."[17] Martinez incorporated orchestral elements, and fused them with the predominantly electronic sounds of the score. He noted that the "sound palette for Contagion came by way of combining three very different approaches Steven went through as he was cutting the film."[17] Martinez received a rough cut for the film in October 2010, which contained music that was imbued with elements of The French Connection (1971) and Marathon Man (1976). He "loved" those two soundtracks, and composed a few pieces in their style.[17] A few months later, he acquired a new cut, which included music influenced by German electronic group Tangerine Dream.[17] Toward the end, Soderbergh changed again and used contemporary soundtrack music that was "more energetic and more rhythmic".[18] Ultimately, Martinez used aspects of all three approaches: "I reasoned that combining them would not only be effective but would give the score a style all its own."[17]

text: Themes[edit]

text: Steven Soderbergh was motivated to make an "ultra-realistic" film about the public health and scientific response to a pandemic.[19] The movie touches on a variety of themes, including the factors which drive mass panic and collapse of social order, the scientific process for characterizing and containing a novel pathogen, balancing personal motives against professional responsibilities and rules in the face of an existential threat, the limitations and consequences of public health responses, and the pervasiveness of interpersonal connections which can serve as vectors to spread disease.[20] Soderbergh acknowledged the salience of these post-apocalyptic themes is heightened by reactions to the September 11 attacks and Hurricane Katrina.[20] The movie was intended to realistically convey the "intense" and "unnerving" social and scientific reactions to a pandemic.[21] The recent real-life epidemics such as the 2003 SARS epidemic and the 2009 flu pandemic have been inspirations and influences in the film.[21] The chain of contagion involving bats and pigs is reminiscent of the trail of the Nipah virus that originated in Malaysia in 1997, which similarly involved the disturbance of a bat colony by deforestation.[22]

text: The film presents examples of crowd psychology and collective behavior which can lead to mass hysteria and the loss of social order. The bafflement, outrage, and helplessness associated with the lack of information, combined with new media such as blogs, allow conspiracy theorists like Krumwiede to spread disinformation and fear, which become dangerous contagions themselves.[20][23][24] Dr. Cheever must balance the need for full disclosure but avoid a panic and allow the time to characterize and respond to an unknown virus.[25] The movie indirectly critiques the greed, selfishness, and hypocrisy of isolated acts in contemporary culture and the unintended consequences they can have in the context of a pandemic.[26] For example, the Centers for Disease Control and Prevention recommends social distancing by forcibly isolating the healthy to limit the spread of the disease, which stands in stark opposition to contemporary demands for social networking.[26] Responding to the pandemic presents a paradox, as the contagiousness and lethality of the virus instills deep distrust of others but surviving and limiting the spread of the disease also requires individuals to work together.[27]

text: Against this existential threat and fraying social order, the film also explores how individual characters bend or break existing rules for both selfish and selfless reasons.[28] Dr. Hextall violates protocols by testing a potential vaccine on herself, Dr. Sussman continues experiments on a cell line despite orders to destroy his samples, Dr. Cheever notifies his fiancé to leave the city before a public quarantine is imposed, Sun Feng kidnaps Dr. Orantes to secure vaccine supplies for his village, Dr. Mears continues her containment work despite contracting the virus, and Krumwiede is paid to use his blog to peddle snake oil cures so as to drive demand and profit for investors in Alternative Medicine. Soderbergh repeatedly uses the cinematographic style of lingering and focusing on the items and objects which are touched by the infected and become vectors (fomites) to infect other people.[29] These objects link characters together and reinforce the multi-narrative hyperlink cinema style which Soderbergh developed in Traffic (2000) and Syriana (2005), which he produced.[27][30]

text: The story also highlights examples of political cronyism (a plane to evacuate Dr. Mears from Minneapolis is instead diverted to evacuate a Congressman), platitudes and rigid thinking (public health officials consider postponing the closing of shopping malls until after the Thanksgiving shopping season), federal responders trying to navigate 50 separate state-level public health policies, and the heroism of Federal bureaucrats.[20][24] Soderbergh does not use type-cast pharmaceutical executives or politicians as villains,[31] but instead portrays bloggers such as Krumwiede in a negative light.[24] Social media plays a role in Krumwiede's accusations against Dr. Cheever and in Emhoff's daughter's attempts to carry on a relationship with her boyfriend through text messaging.[27] Other responses in the movie, such as Emhoff's appropriating a shotgun from a friend's abandoned house to protect his home from looters, imposition of federal quarantines and curfews, the allocation of vaccines by lottery, inadequate federal preparation and responses, and use of bar-coded wristbands to identify the inoculated highlight the complex tensions between freedom and order in responding to a pandemic.[25] Soderbergh uses Emhoff to illustrate the micro-effects of macro-level decisions.[32]

text: Reception[edit]

text: Release and box office[edit]

text: Contagion premiered on September 3, 2011 at the 68th Venice Film Festival in Venice, Italy,[33] and a wider release followed on September 9.[34] In the United States and Canada, Contagion was shown in 3,222 theaters, of which 254 screenings occurred at IMAX venues.[35] Various American commercial analysts anticipated that the film would have ticket sales of between $20 million and $25 million during its opening weekend,[34][35] which it did, grossing $8 million on its first day,[36] and $23.1M for the entire weekend.[37] Of that total, ten percent ($2.3M) of the gross came from IMAX screenings.[38] By outgrossing competitor The Help ($8.7M), Contagion became the highest-grossing film of the week.[37] Demographically, the opening audience was evenly divided among gender, according to Warner Bros., while eighty percent of spectators were of the age of 25 and over.[37][39] Contagion did well the following weekend, generating a $14.5M box office, but came in second to the re-release of The Lion King (1994).[40] The third week saw the box office drop by forty percent, for a total gross of $8.7M.[41] By the fourth week, Contagion had dropped to ninth place at the box office with $5M, and the number of theaters narrowed to 2,744.[42] The film completed its theatrical run on December 15, 2011, at which point its total domestic gross was $75.6M.[1]

text: Contagion made its international debut in six foreign markets the same weekend as its American release, including Italy, where it achieved $663,000 from 309 theaters.[43] The first week saw Contagion acquire $2.1M from 553 establishments—a per-theater average of $3,797.[43] Foreign grosses for Contagion would remain relatively stagnant up until the weekend of October 14–16, 2011, when the film expanded into several additional European markets.[44] Out of the $3.9M that was generated from 1,100 venues during that weekend, nearly 40% of the gross originated from Spain, where the film earned $1.5M from 325 theaters.[44] With the growing expansion of the film in seven additional markets, the weekend of October 21–23, 2011 saw Contagion take in $9.8M from 2,505 locations, increasing the international gross to $22.9M.[45] In the United Kingdom, one of the film's significant international releases, Contagion opened in third place at the box office with $2.3M from 398 theaters;[45] it subsequently garnered the highest debut gross of a Soderbergh film since Ocean's Thirteen (2007).[46] International grosses for Contagion stand at $59.8M.[1]

text: Critical response[edit]

text: Contagion has received positive reviews by film commentators. Review aggregator Rotten Tomatoes sampled 237 reviewers and judged 84% of the reviews to be positive. With a mean score of 7/10, the site's consensus stated, "Tense, tightly plotted, and bolstered by a stellar cast, Contagion is an exceptionally smart—and scary—disaster movie."[47] At Metacritic, which assigns a normalized rating out of 100 based on the critiques from mainstream critics, the film received an average score of 70 based on 38 reviews.[48]

text: The Guardian journalist Peter Bradshaw felt that Contagion blended well together as a film, although opined that Soderbergh was somewhat unsuccessful on channeling the fears, frights, and "the massive sense of loss" of "ordinary people".[49] To David Denby of The New Yorker, the "brilliant" film was "serious, precise, frightening," and "emotionally enveloping".[20] Despite applauding Soderbergh for "hopscotching" tidily "between the intimate and international", The Atlantic's Christopher Orr was disappointed with the film's detached and "clinical" disposition, which led him to conclude that Contagion should have gone with a more inflexible rationale, or a lesson "beyond 'wash your hands often and hope you're lucky'."[50] "For all the craft that went into it, Contagion is ultimately beyond good or bad, beyond criticism. It just is," professed The Atlantic writer.[50] Described as a "smart" and "spooky" installment, Manohla Dargis of The New York Times wrote, "Mr. Soderbergh doesn't milk your tears as things fall apart, but a passion that can feel like cold rage is inscribed in his images of men and women isolated in the frame, in the blurred point of view of the dying and in the insistent stillness of a visual style that seems like an exhortation to look."[29] In regards to the story, Salon columnist Andrew O'Hehir avouched that the "crisp" and succinct narrative matched up to the "beautifully composed" visuals of the film.[24] Todd McCarthy of The Hollywood Reporter proclaimed that Soderbergh and Burns effectively created anxiety in the "shrewd" and "unsensationalistic" film without becoming exaggerated,[51] a sentiment echoed by Jeanette Catsolis of NPR, who insisted that the duo "weave multiple characters into a narrative that's complex without being confusing, and intelligent without being baffling".[32] Writing for The Village Voice, Karina Longworth thought that Contagion reflected the "self-consciousness" and "experimentation" of some of Soderbergh's previous efforts, such as the Ocean's trilogy and The Girlfriend Experience (2009).[26]

text: The performances of multiple cast members were frequently mentioned in the reviews. Lou Lumenick of New York Post asserted that Ehle was "outstanding",[23] a view that was analogous to that of The Boston Globe journalist Wesley Morris, who praised not only Ehle's performance, but the work of the "undercard" such as Cranston, Gould, and Colantoni, among others.[30] Similarly, Peter Travers of Rolling Stone called Ehle the "best in show".[52] As Los Angeles Times' Kenneth Turan summed up, "Two-time Tony-winning actress Jennifer Ehle comes close to stealing the picture with this quietly yet quirkily empathetic performance."[53] In regards to Law, The Philadelphia Inquirer's Steven Rea stated that the actor portrayed the character with a "nutty" confidence;[54] Mick LaSalle from the San Francisco Chronicle agreed with Rea's thoughts.[55][56] Damon provided the film's "relatable heart", according to Forrest Wickman of Slate, who concluded that even with her controlled performance, Winslet "lives up to her head-of-the-class reputation even in an unusually small role".[27]

text: The character development of multiple characters produced varying response from critics. Contrary to Mitch's stance as the main protagonist, Michael O'Sullivan of The Washington Post felt that Contagion "treats him with an oddly clinical detachment".[57] In particular Law's character, Alan Krumwiede, attracted commentary from Roger Ebert of the Chicago Sun-Times, who wrote, "The blogger subplot doesn't interact clearly with the main story lines and functions mostly as an alarming but vague distraction."[58]

text: Scientific accuracy[edit]

text: Ferris Jabr of New Scientist approved of Contagion for accurately portraying the "successes and frustrations" of science. Jabr cites story elements such as "the fact that before researchers can study a virus, they need to figure out how to grow it in cell cultures in the lab, without the virus destroying all the cells" as examples of accurate depictions of science.[59] Carl Zimmer, a science commentator, praised the film, stating, "It shows how reconstructing the course of an outbreak can provide crucial clues, such as how many people an infected person can give a virus to, how many of them get sick, and how many of them die." He also describes a conversation with the film's scientific consultant, W. Ian Lipkin, in which Lipkin defended the rapid generation of a vaccine in the film. Zimmer wrote that "Lipkin and his colleagues are now capable of figuring out how to trigger immune reactions to exotic viruses from animals in a matter of weeks, not months. And once they've created a vaccine, they don't have to use Eisenhower-era technology to manufacture it in bulk."[60] Paul Offit, a pediatrician and vaccination expert, stated that "typically when movies take on science, they tend to sacrifice the science in favor of drama. That wasn't true here." Offit appreciated the film's usage of concepts such as R0 and fomites, as well as the fictional strain's origins, which was based on the Nipah virus.[61]

text: Home media[edit]

text: Contagion was released on DVD and Blu-ray in North America on January 3, 2012,[62] and in the United Kingdom on March 5, 2012.[63] In its first week of release, the film topped the DVD chart with 411,000 units sold for $6.16 million.[64] That same week it sold 274,000 Blu-ray copies for $4.93 million, topping that chart as well.[65] DVD sales dropped during the second week of release, with 193,000 units sold for $2.89 million.[66] As of early July 2012, Contagion had sold 802,535 copies in DVD, for $12.01 million in revenue.[62]


document_title: Penal Laws (Ireland)

question_text: when were the penal laws passed in ireland

text: Penal Laws (Ireland)

text: Stuart and Cromwellian rule[edit]

text: The Penal Laws were, according to Edmund Burke "a machine of wise and elaborate contrivance, as well fitted for the oppression, impoverishment and degradation of a people, and the debasement in them of human nature itself, as ever proceeded from the perverted ingenuity of man."[3] Burke long counseled kinder relations by London with its American & Irish cousins, fearing that the punitive spirit fostered by the British was destroying English character, and would spur violent revolt.

text: Initially, the dual monarchs of England and Ireland were cautious about applying the Penal Laws to Ireland because they needed the support of the Catholic upper classes to put down the Gaelic Irish rebellion in the Nine Years War (1594–1603). In addition, a significant section of the Catholic aristocracy was composed of Old English, who had traditionally been loyal to English rule in Ireland. However, the ascent of James VI of Scotland to both the English and Irish thrones as James I in 1603 and the eventual victory in the Nine Years War saw a series of coercive new laws put into force. In 1605 the 'Gunpowder Plot' was planned by a group of English Catholics, who were disappointed in their hopes that James would relieve laws against Catholics. This provided a further impetus and justification for restrictive laws on Catholics in Ireland, Scotland and England. In 1607 the Flight of the Earls seeking Catholic help in Europe for a further revolt set the scene for a wholesale Plantation of Ulster by the Lowland Scots and Northern English.

text: From 1607, Catholics were barred from holding public office or serving in the Irish Army. This meant that the Irish Privy Council and the Lords Justice who, along with the Lord Deputy of Ireland, constituted the government of the country, would in future be Anglicans. In 1613, the constituencies of the Irish House of Commons were altered to give plantation settlers a majority. In addition, Catholics in all three Kingdoms had to pay 'recusant fines' for non-attendance at Anglican services. Catholic churches were transferred to the Anglican Church of Ireland. Catholic services, however, were generally tacitly tolerated as long as they were conducted in private. Catholic priests were also tolerated, but bishops were forced to operate clandestinely. In 1634 the issue of the "Graces" arose; generous taxation for Charles I (whose Queen Henrietta Maria was Catholic) was supported by Irish Catholic landlords on the understanding that the laws would be reformed, but once the tax was passed, Charles' viceroy refused two of the 51 Graces, and subsequent bills were blocked by the Catholic majority in the Irish House of Lords.

text: Catholic resentment was a factor in starting the Irish Rebellion of 1641 and the establishment of Confederate Ireland from 1642 with Papal support, that was eventually put down in the Cromwellian conquest of Ireland in 1649–53. After the Act of Settlement in 1652, Catholics were barred from membership in the Irish Parliament, and the major landholders had most of their lands confiscated under the Adventurers Act. They were also banned from living in towns for a short period. Catholic clergy were expelled from the country and were liable to instant execution when found. Many recusants had to worship in secret at gathering places (such as Mass rocks) in the countryside. In 1666 forty nine Catholics from hiding places in the woods in county Roscommon signed a letter in support of the Pope and protesting the loss of their 'due liberties'.[4][n 1] Seventeen Catholic martyrs from this period were beatified in 1992.

text: Much of this legislation was rescinded after the Restoration in Ireland by Charles II (1660–1685), under the Declaration of Breda in 1660, in terms of worship and property-owning, but also the first Test Act became law from 1673. Louis XIV of France increased Protestant paranoia in Europe when he expelled the Huguenots from France in 1685. Following the flight from England to Ireland by James II caused by the English Glorious Revolution in 1688, the decisions of the Catholic-majority Patriot Parliament of 1688–9 in Dublin included a complete repeal of the 1650s land settlements.[6] These were reversed after the largely Roman Catholic Jacobites that sided with King James then lost the Williamite war in Ireland in 1689–91. His opponents William III and Mary II were grandchildren of King Charles I, and so the war ultimately decided whether Catholic or Protestant Stuarts would reign.

text: The war ended with the Treaty of Limerick agreed by Sarsfield and Ginkel in October 1691. This provided in article 1 that:

text: The Roman Catholics of this kingdom shall enjoy such privileges in the exercise of their religion as are consistent with the laws of Ireland, or as they did enjoy in the reign of king Charles the second: and their majesties, as soon as their affairs will permit them to summon a parliament in this kingdom, will endeavour to procure the said Roman Catholics such farther security in that particular, as may preserve them from any disturbance upon the account of their said religion.[7]

text: The quid pro quo to attain these privileges involved swearing an oath of loyalty to William and Mary. Many Catholics found this oath repugnant when the Papacy started to support the Jacobites in 1693. A small number of Catholic landlords had sworn this loyalty oath in 1691–3 and their families remained protected. Previous Jacobite garrison surrenders, particularly the agreement at Galway earlier in 1691, specifically provided that the Catholic gentry of counties Galway and Mayo were protected from the property restrictions, though they would be excluded from direct involvement in politics.

text: Articles 2 and 9 required that:

text:
2. .... provided also, that no person whatsoever shall have or enjoy the benefit of this article, that shall neglect or refuse to take the oath of allegiance, made by act of parliament in England, in the first year of the reign of their present majesties, when thereunto required.

9. The oath to be administered to such Roman Catholics as submit to their majesties' government, shall be the oath abovesaid and no other.[7]

text: At the European level, this war was a part of the War of the Grand Alliance, in which the Holy See supported William III's alliance against France, and on the news of the Battle of the Boyne a Te Deum was sung in thanksgiving at the Vatican. But from 1693 the Papacy changed its policy and supported James against William, and William's policy also moved from a degree of toleration for Catholics to greater hostility. By then, King James was based in France at Saint Germain, and was supported politically and financially by Louis XIV, the long-standing enemy of William and Mary. Religion eventually became an issue in defining a notable family's loyalty to the crown.

text: Ascendancy rule 1691–1778[edit]

text: With the defeat of Catholic attempts to regain power and lands in Ireland, a ruling class which became known later as the "Protestant Ascendancy" sought to ensure dominance with the passing of a number of laws to restrict the religious, political and economic activities of Catholics and Dissenters. Harsher laws were introduced for political reasons during the long War of the Spanish Succession that ended in 1714. The son of James II, the "Old Pretender", was recognised by the Holy See as the legitimate King of Britain and Ireland until his death in 1766, and Catholics were obliged to support him. He also approved the appointments of all the Irish Catholic hierarchy, who were drawn from his most fervent supporters. These aspects provided the political basis for the new laws passed for several decades after 1695. Interdicts faced by Catholics and Dissenters under the Penal Laws were:

text:
Exclusion of Catholics from most public offices (since 1607), Presbyterians were also barred from public office from 1707.
Ban on intermarriage with Protestants; repealed 1778
Presbyterian marriages were not legally recognised by the state
Catholics barred from holding firearms or serving in the armed forces (rescinded by Militia Act of 1793)
Bar from membership in either the Parliament of Ireland or the Parliament of England from 1652; rescinded 1662–1691; renewed 1691–1829, applying to the successive parliaments of England (to 1707), Great Britain (1707 to 1800), and the United Kingdom of Great Britain and Ireland (1800 to 1829).
Disenfranchising Act 1728, exclusion from voting until 1793;
Exclusion from the legal professions and the judiciary; repealed (respectively) 1793 and 1829.
Education Act 1695 – ban on foreign education; repealed 1782.
Bar to Catholics and Protestant Dissenters entering Trinity College Dublin; repealed 1793.
On a death by a Catholic, his legatee could benefit by conversion to the Church of Ireland;
Popery Act – Catholic inheritances of land were to be equally subdivided between all an owner's sons with the exception that if the eldest son and heir converted to Protestantism that he would become the one and only tenant of estate and portions for other children not to exceed one third of the estate. This "Gavelkind" system had previously been abolished by 1600.
Ban on converting from Protestantism to Roman Catholicism on pain of Praemunire: forfeiting all property estates and legacy to the monarch of the time and remaining in prison at the monarch's pleasure. In addition, forfeiting the monarch's protection. No injury however atrocious could have any action brought against it or any reparation for such.
Ban on Catholics buying land under a lease of more than 31 years; repealed 1778.
Ban on custody of orphans being granted to Catholics on pain of 500 pounds that was to be donated to the Blue Coat hospital in Dublin.
Ban on Catholics inheriting Protestant land
Prohibition on Catholics owning a horse valued at over £5 (to keep horses suitable for military activity out of the majority's hands)
Roman Catholic lay priests had to register to preach under the Registration Act 1704, but seminary priests and Bishops were not able to do so until 1778
When allowed, new Catholic churches were to be built from wood, not stone, and away from main roads.
'No person of the popish religion shall publicly or in private houses teach school, or instruct youth in learning within this realm' upon pain of twenty pounds fine and three months in prison for every such offence. Repealed in 1782.[8]
Any and all rewards not paid by the crown for alerting authorities of offences to be levied upon the Catholic populace within parish and county.

text: Historians disagree on how rigorously these laws were enforced. The consensus view is that enforcement depended on the attitudes of local magistrates bringing or hearing particular cases; some of whom were rigorous, others more liberal.

text: The Catholic Committees[edit]

text: From 1758, before the death of James III, ad-hoc groups of the remaining Catholic nobility and merchants worked towards repeal of the penal laws and an accommodation within the Hanoverian system. These were based locally on county lines. An earlier attempt in 1727 had met with strong opposition from the Jacobite movement, which resisted any negotiations with the Hanoverians, being usurpers.[9] By 1760 eminent Catholics such as Lord Trimlestown, Lord Kenmare and Charles O'Conor of Belanagare persuaded the more liberal Protestants that they presented no political threat, and that reforms must follow. Events abroad in the 1760s, such as the outcome of the Seven Years war, the death of the Old Pretender (1766), the emerging "Age of Enlightenment", and the Suppression of the Society of Jesus by Europe's Catholic monarchs, all seemed to confirm their position.

text: Gradual reform and emancipation 1778–1869[edit]

text: On the death of the "Old Pretender" in January 1766 the Holy See recognised the Hanoverian dynasty as legitimate, and so the main political basis for the laws was removed and the slow process of Catholic Emancipation began, with the repeal of some of the Penal Laws by the Catholic Relief Acts of 1771, 1778[10] and 1793.[11] However, the long drawn-out pace of reform ensured that the question of religious discrimination dominated Irish life and was a constant source of division. In a show of goodwill, John Carpenter, titular Archbishop of Dublin, technically still an illegal position, was invited to join the Royal Dublin Society in 1773.[12]

text: Visitors from abroad such as Arthur Young in the late 1770s also deplored the Penal laws as being contrary to the spirit of the Age of Enlightenment, and illogical as they were unenforced. In his Tour in Ireland (1780), that was sponsored by many landlords, Young mentioned the laws twice:

text: Talking with Chief Baron Foster, Young commented:

text: An Irish Act of 1774 allowed any subject of George III "of whatever persuasion to testify their allegiance to him".[15] The Quebec Act of 1774 was an encouragement outside Ireland, with the London parliament restoring religious rights in the main part of Canada, followed in Britain and Ireland by the Catholic Relief Act 1778. Carlow College was established in 1782.

text: From 1782 reformist Irish Protestant politicians like Henry Grattan, JP Curran, William Ponsonby and Frederick Hervey, 4th Earl of Bristol (a Protestant bishop), added their voices in support. In the English House of Commons Edmund Burke also helped, but was faced with anti-Catholic sentiment which exploded in the Gordon Riots of 1780. Another reform Act of 1782 sponsored by Luke Gardiner removed the remaining limits on Catholics buying land and some petty restrictions such as owning a horse worth less than £5.[16]

text: In 1792 William FitzGerald, 2nd Duke of Leinster, the eldest brother of Lord Edward Fitzgerald, founded the 'Association of the friends of liberty' whose program sought Catholic members in the Irish House of Commons. They could not persuade most Protestant MPs to effect a bigger change than the Relief Act of 1793, where Catholics were now allowed to buy freehold land, to become grand jurors and barristers, to study at Trinity College Dublin, and to vote if they held property with a rental value of at least £2 a year (the so-called "Forty-shilling freeholders"). A majority of Irish MPs were still reluctant to reform, and the Irish 1793 Act had to be encouraged by the British government that had already passed the Roman Catholic Relief Act 1791.[17]

text: Opposition to Catholic Relief ensured that when relief was granted it was often accompanied by what were seen to be unpleasant concessions to the system. Relief in 1793 was accompanied by a widely unpopular Militia Act which removed the ban on Catholics holding firearms to allow for their conscription into the militia, but not their admittance into the officer ranks. However, wealthier Catholics did not oppose this as it was further proof of their gradual inclusion into the establishment. An example was Daniel O'Connell who briefly joined the militia unit formed at the King's Inns in the late 1790s. Pitt also encouraged a short-lived Catholic Irish Brigade.

text: France declared war on Britain and Ireland in February 1793 and the war took priority over further reliefs. The French government opposed the Holy See from 1790. Irish Catholic priests were trained in France, Belgium, and Spain, so the Prime Minister Pitt funded the establishment of St. Patrick's seminary in Maynooth in 1795. The French republican policies of "Dechristianization" in 1790–1801 were often similar to Cromwell's anti-Catholic policies in Ireland in the 1650s. The Presbyterian Church was granted the Regium Donum. In 1795 the new viceroy the earl of Fitzwilliam proposed full political emancipation, as suggested by Grattan, and a prelude to proposals for Parliamentary union. He was removed within weeks by the conservatives in the Irish administration.

text: Many reformers despaired of peaceful change, particularly in the lack of Tithe reform, and this led on to instances of Catholic support for the abortive 1798 rebellion. During the rebellion the Irish Catholic bishops supported the government line. The subsequent passing of the Act of Union of 1801 was intended to include Catholic Emancipation, as power was moved from the hands of the Protestant Ascendancy to the London Parliament. This was agreed by most of the British Cabinet, including William Pitt, and they resigned when it was not effected. The personal opposition of George III ensured that no change would be forthcoming during his reign.

text: Emancipation[edit]

text: The political argument for emancipation to allow Catholic MPs to sit in parliament continued after the 1801 Act of Union, supported by liberal MPs such as Henry Grattan. Division arose over the "veto", the issue whether the government could, or could not, veto the appointment of a bishop where he was approved by the Pope. In May 1823, Daniel O'Connell launched the Catholic Association and campaigned for Catholic emancipation which was largely achieved in the Act of 1829, primarily benefitting the middle classes.[18] While this was seen as a late and overdue reform by Irish Catholics, Irish Dissenters had only just achieved the same status following the 1828 Test Act, Irish Jewish MPs were barred until 1858 and atheists until 1886.

text: The Act also allowed for Catholic judges and senior civil servants and state officials to be appointed. As with the election of MPs, those who benefitted were the better educated and richer Catholics. The same class took advantage of the reform of town and city corporations in the Act of 1840 and took part in local government. But for the majority of Irish Catholics living in the countryside, the cost of the tithing system had always been the main cause of complaint.

text: Tithe reform[edit]

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text: The obligation by Catholics and other religious groups to pay tithes to the Protestant Church remained until its disestablishment by the Irish Church Act 1869 and Catholic Emancipation was quickly followed by a period of violent resistance known as the Tithe War. From 1840 tithes were no longer payable by tenants but by their landlords, who were allowed to increase rents to make up the difference. The Catholic Church became resurgent from the 1840s, uniting with the Protestant churches to oppose the integration of students of differing religion in the new primary or 'National' schools, and in the 1850s a debate arose over whether some proposed universities should be mixed or just for Catholics.

text: Government of Ireland Act 1920[edit]

text: Section 5(2) of the Government of Ireland Act 1920 stated:

text: This did not affect the Act of Settlement 1701, which prohibited Catholics and those married to Catholics from succeeding to the throne; these were later repealed by the Succession to the Crown Act 2013 (between 1920 and 2013 there was no Catholic heir to the throne).

text: As a result of Sections 5(2) and 37(1) of the 1920 act, Roman Catholics once again became eligible to occupy the office of Lord Lieutenant of Ireland, the British monarch's representative in Ireland. Within months of this legislation passing, Viscount FitzAlan of Derwent became in April 1921 the first Roman Catholic Lord Lieutenant of Ireland since the penal laws forbade such appointments in 1685. Because of the establishment of the Irish Free State in 1922 and the altered constitutional relationship between Ireland and the United Kingdom, FitzAlan was also the last Lord Lieutenant of Ireland.

text: Mentioned into the 20th century[edit]

text: The memory of the Penal laws remained as a strongly resonant cultural element in Irish Catholicism long after their reform, and they were seen as a social and legal nadir from which the bulk of the Irish population had eventually escaped.

text: In May 1920 Seán T. O'Kelly sent a memorandum to Pope Benedict XV which included:

text: The position of Irish Catholics is a cruel one. We are enslaved by a Protestant power. The penal laws against our religion are not yet abolished in full. The injurious social and economic results of these anti-Catholic laws will not be overcome for generations. To the present day we suffer political injury inside and outside of Ireland, simply and solely because we are practising Catholics. Sons of martyrs, we are known in every Masonic lodge and every anti-Catholic country as 'Papists', and par-excellence, the most devoted of all the children of the Holy See.[19]

text: In 1971, responding to news of an importation of contraceptive devices from Northern Ireland that could not be sold in the Republic, Thomas Ryan, Bishop of Clonfert, said that "... never before, and certainly not since penal times was the Catholic heritage of Ireland subjected to so many insidious onslaughts on the pretext of conscience, civil rights and women's liberation."[20]