document_title: The Shawshank Redemption

question_text: where did andy go at the end of shawshank redemption

text: The Shawshank Redemption

text: Plot[edit]

text: In 1947 Portland, Maine, banker Andy Dufresne is convicted of murdering his wife and her lover, and he is sentenced to two consecutive life sentences at the Shawshank State Penitentiary. Andy is befriended by contraband smuggler, Ellis "Red" Redding, an inmate serving a life sentence. Red procures a rock hammer for Andy and later a large poster of Rita Hayworth for him. Working in the prison laundry, Andy is regularly assaulted by "the Sisters" and their leader, Bogs.

text: In 1949, Andy overhears the captain of the guards, Byron Hadley, complaining about being taxed on an inheritance and offers to help Hadley legally shelter the money. After an assault by the Sisters nearly kills Andy, Hadley beats Bogs severely. Bogs is then transferred to another prison. Warden Samuel Norton meets Andy and reassigns him to the prison library to assist elderly inmate Brooks Hatlen. Andy's new job is a pretext for him to begin managing financial matters for the prison employees. As time passes, the warden begins using Andy to handle matters for a variety of people, including guards from other prisons and the warden himself. Andy begins writing weekly letters to the state legislature, requesting funds to improve the prison's decaying library.

text: In 1954, Brooks is paroled after serving 50 years, but he cannot adjust to the outside world, and he commits suicide, hanging himself. Andy receives a library donation that includes a recording of The Marriage of Figaro. He plays an excerpt over the public address system, resulting in him receiving solitary confinement. After his release from solitary, Andy explains that hope is what gets him through his time, a concept that Red dismisses. In 1963, Norton begins exploiting prison labor for public works, profiting by undercutting skilled labor costs and receiving bribes. Andy launders the money using the alias Randall Stephens.

text: In 1965, Tommy Williams is incarcerated for burglary. He is befriended by Andy and Red, and Andy helps him pass his GED exam. In 1966, Tommy reveals to Red and Andy that an inmate at another prison claimed responsibility for the murders for which Andy was convicted. Andy approaches Norton with this information, but he refuses to listen and sends Andy back to solitary confinement when he mentions the money laundering. Norton has Hadley murder Tommy under the guise of an escape attempt. Andy declines to continue the laundering, but he relents after Norton threatens to burn the library, remove Andy's protection from the guards, and move him to worse conditions. After two months, Andy is released from solitary confinement, and he tells Red of his dream of living in Zihuatanejo, a Mexican coastal town. Red feels Andy is being unrealistic, but promises Andy that if he is ever released, he will visit a specific hayfield near Buxton, Maine, and retrieve a package Andy buried there. He worries about Andy's well-being, especially when he learns Andy asked another inmate to supply him with six feet (1.8 meters) of rope.

text: The next day at roll call, the guards find Andy's cell empty. An irate Norton throws a rock at the poster of Raquel Welch hanging on the cell wall, revealing a tunnel that Andy dug with his rock hammer over the last 19 years. The previous night, Andy escaped through the tunnel and prison sewage pipe, using the rope to bring with him Norton's suit, shoes, and the ledger containing details of the money laundering. While guards search for him, Andy poses as Randall Stephens and visits several banks to withdraw the laundered money, then mails the ledger and evidence of the corruption and murders at Shawshank to a local newspaper. State police arrive at Shawshank and take Hadley into custody, while Norton commits suicide to avoid his arrest.

text: After serving 40 years, Red is paroled. He struggles to adapt to life outside prison and fears that he never will. Remembering his promise to Andy, he visits Buxton and finds a cache containing money and a letter asking him to come to Zihuatanejo. Red violates his parole and travels to Fort Hancock, Texas to cross the border to Mexico, admitting he finally feels hope. On a beach in Zihuatanejo he finds Andy, and the two friends are happily reunited.

text: Cast[edit]

text:
Tim Robbins as Andy Dufresne:
An investment banker sentenced to life in prison in 1947 for the murder of his wife and her lover

Morgan Freeman as Ellis Boyd "Red" Redding:
A prison contraband smuggler who befriends Andy

Bob Gunton as Samuel Norton:
The pious and strict warden of Shawshank penitentiary

William Sadler as Heywood:
A member of Red's gang of long-serving convicts

Clancy Brown as Byron Hadley:
The brutal captain of the prison guards

Gil Bellows as Tommy Williams:
A young convict imprisoned for burglary in 1965

James Whitmore as Brooks Hatlen:
The elderly prison librarian, imprisoned since 1905

text: The cast also includes: Mark Rolston as Bogs Diamond, the head of "The Sisters" gang and a prison rapist; Jeffrey DeMunn as the prosecuting attorney in Dufresne's trial; Alfonso Freeman as Fresh Fish Con; Ned Bellamy and Don McManus as, respectively, prison guards Youngblood and Wiley; and Dion Anderson as Head Bull Haig. Renee Blaine portrays Andy's wife, and Scott Mann portrays her golf-instructor lover Glenn Quentin. Frank Medrano plays Fat Ass, one of Andy's fellow new-inmates who is beaten to death by Hadley, and Bill Bolender plays Elmo Blatch, a convict who may actually be responsible for the crimes of which Andy is accused.

text: Production[edit]

text: Director Frank Darabont first collaborated with author Stephen King in 1983, on the short film adaptation of "The Woman in the Room", buying the rights from King for $1; a Dollar Deal policy King used to help new directors build a resume by adapting his short stories.[4] After receiving his first screenwriting credit in 1987 for A Nightmare on Elm Street 3: Dream Warriors, Darabont returned to King with $5,000[5] to purchase the right to adapt Rita Hayworth and Shawshank Redemption, a 96-page novella from King's 1982 collection Different Seasons, written to explore genres outside of the horror stories for which he was commonly known.[6] Although King did not understand how the story, largely focused on Red contemplating his fellow prisoner Andy, could be turned into a feature film, Darabont believed it was "obvious".[4] Five years later, Darabont wrote the script over an eight-week period. Darabont expanded on elements of King's story. Brooks, who in the novella is a minor character who dies in a retirement home, became a tragic character who eventually hanged himself. Tommy, who in the novella trades his evidence exonerating Andy for transfer to a nicer prison, is instead in the screenplay murdered on the orders of warden Norton, who is himself an amalgamation of several warden characters in King's story.[4] Darabont opted to create a single warden character to serve as the primary antagonist.[7] He also cited Goodfellas (1990) as an inspiration to use dialogue to illustrate the passage of time in the script.[8] King never cashed the $5,000 cheque from Darabont for the rights to The Shawshank Redemption; he later framed it and returned it to Darabont accompanied by a note which read "In case you ever need bail money. Love, Steve".[9]

text: At the time, prison-based films were not considered reliable box-office successes, but Darabont's script was read by then-Castle Rock Entertainment producer Liz Glotzer, whose interest in prison stories and reaction to the script led her to threaten to quit if Castle Rock did not produce The Shawshank Redemption.[4] Director and Castle Rock co-founder Rob Reiner also liked the script, and offered Darabont between $2.4 million[10] and $3 million to allow Reiner to direct it himself.[4] Reiner, who had previously adapted King's novella The Body into the 1986 film Stand by Me, planned to cast Tom Cruise as Andy and Harrison Ford as Red.[4][11] Castle Rock offered to finance any other film Darabont wanted to develop. Darabont, citing growing up poor in Los Angeles, seriously considered the offer, considering it would elevate his standing in his industry and that Castle Rock could have contractually fired him and given the film to Reiner anyway. Darabont chose to remain director, saying in a 2014 Variety interview, "you can continue to defer your dreams in exchange for money and, you know, die without ever having done the thing you set out to do."[4] Reiner instead served as Darabont's mentor on the project.[4] Within two weeks of showing the script to Castle Rock, Darabont had a $25 million budget to make his film,[12] taking a $750,000 screenwriting and directing salary plus a percentage of the net profits.[10]

text: Producer Niki Marvin spent five months scouting prisons across the United States and Canada, looking for a location that had a timeless aesthetic and was completely abandoned, hoping to avoid the complexity of filming the amount of footage that The Shawshank Redemption required, in an active prison that would require hours per day of additional security checks.[13] Marvin eventually chose the Ohio State Reformatory in Mansfield, Ohio to serve as the fictional Shawshank State Penitentiary in Maine, citing its Gothic-style stone and brick buildings.[13][14] After nearly a century of use, the facility had been closed three years earlier on New Years Eve, 1990,[15] due to inhumane living conditions.[14]

text: Casting[edit]

text: Freeman was cast at Glotzer's suggestion, who ignored the novella's character description of a white Irishman, nicknamed "Red". Darabont initially looked at some of his favorite actors like Gene Hackman and Robert Duvall, but they were unavailable,[8] and Clint Eastwood and Paul Newman were also considered.[16] Freeman's character alludes to the choice when queried by Andy on why he is called Red, replying "Maybe it's because I'm Irish."[8] Freeman opted not to research his role, saying "acting the part of someone who's incarcerated doesn't require any specific knowledge of incarceration... because men don't change. Once you're in that situation, you just toe whatever line you have to toe."[12]

text: Cruise, Tom Hanks and Kevin Costner were offered, and passed on the role of Andy Dufresne;[4] Hanks due to his starring role in Forrest Gump,[8] and Costner for the lead in Waterworld.[17] Johnny Depp, Nicolas Cage, and Charlie Sheen were also considered for the role at different stages.[17] Cruise attended table readings of the script, but he refused to work for the inexperienced Darabont.[4] Darabont said he cast Robbins after seeing his performance in the 1990 psychological horror Jacob's Ladder.[18] When Robbins was cast he insisted that Darabont use experienced cinematographer Roger Deakins, who had worked with Robbins on The Hudsucker Proxy.[4] To prepare for the role, Robbins observed caged animals at a zoo, spent an afternoon in solitary confinement, spoke with prisoners and guards,[19] and had his arms and legs shackled for a few hours.[12]

text: Cast initially as young convict Tommy, Brad Pitt dropped out following his success in Thelma & Louise[4] (the role went to a debuting Gil Bellows),[12] and James Gandolfini passed on portraying prison rapist Bogs.[4] Gunton was filming Demolition Man (1993) when he went to audition for The Shawshank Redemption with Darabont and Marvin. To convince the studio that Gunton was right for the part, they arranged for him to record a screen test on a day off from Demolition Man, and even arranged for a wig to be made as Gunton had to shave his head for his Demolition Man role but wanted to portray warden Norton with hair as this could then be grayed to convey his on-screen aging throughout Shawshank. Gunton performed his screen test against Robbins and was filmed by Deakins, and after being confirmed for the role, used the wig in early scenes in the film until his hair naturally regrew. Gunton said that Marvin and Darabont saw that he understood the character and that, that went in his favor, as did his similar height to Robbins that allowed for Andy to believably use the warden's suit.[7]

text: Portraying the head guard Byron Hadley, Clancy Brown was given the opportunity to speak with former guards by the production's liaison officer, but declined believing it would not be a good thing to say that his brutal character was in any way inspired by Ohio state correctional officers.[20] William Sadler, who portrays Heywood, said that Darabont had approached him in 1989, on the set of the Tales from the Crypt television series where Darabont was a writer, about starring in the adaptation he was intending to make.[21] Morgan's son Alfonso cameos as a young Red in mug shot photos,[8] and as a prisoner shouting "fresh fish" as Andy arrives at Shawshank.[22] Among the extras used in the film were the former warden and former inmates of the Reformatory, and active guards of a nearby incarceration facility.[23][12] The original novella title drew several people to try and audition for the non-existent role of Rita Hayworth, including a man in drag clothing.[10]

text: Filming[edit]

text: On a $25 million budget,[24] principal photography took place over three months[4] in 1993.[14] Filming regularly required up to 18-hour workdays, six days a week.[4] Freeman described filming as tense, stating "Most of the time, the tension was between the cast and director. I remember having a bad moment with the director, had a few of those". Freeman referred to Darabont requiring multiple takes of scenes, which Freeman considered had no discernible differences. He said that he would sometimes simply refuse to do the additional takes. Robbins said that the long days were difficult, while Darabont considered that making the film taught him a lot, "A director really needs to have an internal barometer to measure what any given actor needs."[4] He found his most frequent struggles were with Deakins, as Darabont favored more scenic shots, while Deakins considered that not showing the outside of the prison added a sense of claustrophobia, and it meant that when wide scenic shots were used, it made more impact.[12]

text: The 15-acre reformatory, housing its own power plant and farm, was partially torn down shortly after filming completed, leaving the main administration building and two cell blocks.[14] Several of the interior shots of the specialized prison facilities, such as the admittance rooms and the warden's office, were shot in the reformatory. The interior of the boarding room used by Brooks and Red was actually located in the administration building; exterior shots of the boarding house were taken elsewhere. Internal scenes in the prison cellblocks were actually filmed on a soundstage built inside the nearby shuttered Westinghouse factory. As Darabont wanted the inmate cells to face each other for the film, almost all of the cellblock scenes were shot on a purpose-built set housed in the Westinghouse Electric factory, Mansfield,[14] except for the scene featuring Elmo Blatch's admission of guilty in Andy's crimes, which was filmed in the actual prison's more confined cells.[25] Scenes were also filmed in Mansfield, as well as neighboring Ashland, Ohio.[26] The oak tree under which Andy buries his letter to Red was located near Malabar Farm State Park, in Lucas, Ohio;[16] it was destroyed by winds in 2016.[27]

text: Just as a prison in Ohio stood in for a fictional one in Maine, the beach scene showing Red's and Andy's reunion in Zihuatanejo, Mexico, was actually shot in the Caribbean on the island of Saint Croix, one of the U.S. Virgin Islands.[28] The beach at 'Zihuatanejo' is Sandy Point National Wildlife Refuge,[29] a protected area for leatherback sea turtles.[30] Scenes shot in Upper Sandusky included the prison wood shop scene where Red and his fellow inmates hear "The Marriage of Figaro" (the woodshop is now called the Shawshank Woodshop),[16] and the opening court scene which was shot at the Wyandot County Courthouse.[29] Other shooting locations included Pugh Cabin on Malabar Farm State Park, where Andy sits outside as his wife engages in an affair,[31] Butler, Ohio which stood in for Buxton, Maine,[32] and The Bissman Building in Mansfield, which served as the hotel where Brooks stays following his incarceration.[33]

text: The scene where Andy first approaches Red in order to procure a rock hammer took nine hours to film. The scene featured Freeman throwing and catching a baseball with another inmate throughout. The amount of times it took to film the scene resulted in Freeman turning up to filming the following day with his arm in a sling. While the film portrays Andy escaping to freedom through a sewer pipe described as a "river of shit", Robbins actually crawls through a mixture of water, chocolate syrup, and sawdust. The stream into which Andy emerges was actually certified toxic by a chemist according to production designer Terence Marsh. As for the scene were Andy rebelliously plays music over the prison announcement system, it was Robbins' idea for Andy to turn the music up rather than shut it off.[22]

text: Post-production[edit]

text: The first edit of the film ran for nearly two and a half hours, which Glotzer considered "long", and several scenes were cut including a longer sequence of Red adjusting to life post incarceration; Darabont said that in test screenings the audience seemed to be getting impatient with the scene as they were already convinced that Red would not make it.[19] Another scene cut for time showed a prison guard investigating Andy's escape tunnel; it was thought to slow down the action.[34] Darabont's original vision ended the film with Red riding a bus towards the Mexican border, leaving his fate ambiguous. Glotzer insisted on including the scene of Red and Andy reuniting in Zihuatanejo. She said Darabont felt this was a "commercial, sappy" ending, but Glotzer wanted the audience to see them together.[4] The final cut of the theatrically released film runs for 142 minutes.[35] Several alternative titles were posited before the film's release as it was considered that The Shawshank Redemption was not a marketable title.[21] The film was dedicated to Allen Greene, Darabont's former agent who died during filming from AIDS.[36]

text: Music[edit]

text: The film score was composed by Thomas Newman. In scoring music for the film, Newman felt that it elicited such strong emotions already without music, that he found difficulty in creating music that would elevate scenes without distracting from them. The piece, "Shawshank Redemption", plays during Andy's escape from Shawshank and originally had a three-note motif, but Darabont felt it had too much of a "triumphal flourish" and requested it be toned down to a single-note motif. "So Was Red", played following Red's release from prison and leading to his discovery of Andy's cache, became one of Newman's favorite pieces. The piece was initially written for a solo oboe player, until Newman reluctantly agreed to add a harmonica player; a reference to a gifted harmonica Red receives from Andy to continue his message of hope. According to Darabont, harmonica player Tommy Morgan "casually delivered something dead-on perfect on the first take", and this is heard in the finished film.[37] Newman's score was so successful that excerpts would be used in movie trailers for years afterwards.[6]

text: The score consists largely of faint piano music, and tremolo strings during more active or humorous moments in the film. The score's two main themes only appear two to three times. The prison theme, first heard in the beginning, is a four-note ascending line in the bass, which is developed and reaches its climax when Andy is standing in the river in the rain. The second theme represents freedom, and is first heard when the inmates are sharing beer, feeling like "free men". This theme does not reoccur until the final credits, and is then grander, with fuller orchestration. Like Hans Zimmer's score for The Thin Red Line, the track is often played in trailers during their most dramatic moments. Zimmer himself has credited the score as the one "that has influenced everything the most", and stated that Newman expanded the harmonic palette of film scores.[38]

text: A central scene in the film features the soprano "Letter Duet" ("Canzonetta sull'aria") from Mozart's The Marriage of Figaro, also known in Italian as "Sull'aria...che soave zeffiretto." In the duet, Countess Almaviva dictates to Susanna an invitation to a tryst addressed to the countess' unfaithful husband. Ellis Boyd "Red" Redding (Morgan Freeman) remarks in his voice-over narration: "I have no idea to this day what those two Italian ladies were singing about. [...] I'd like to think they were singing about something so beautiful it can't be expressed in words, and it makes your heart ache because of it."[39] The music highlights the irony in the movie as the opera characters are only singing about a duplicitous love letter to expose infidelity.[citation needed]

text: Release[edit]

text: Leading up to its release, the film was subjected to public test screenings which were "through the roof"[40], which Glotzer described as some of the best she had seen, and while other critics had praised the film, she believed that a lackluster review from the Los Angeles Times pushed crowds away.[4][40] It was also decided to largely omit King's name from any advertising, as the studio wanted to attract a more prestigious audience who may reject a film from a writer mostly known for pulp fiction stories like The Shining and Cujo.[41]

text: Following its premiere in early September at the Toronto International Film Festival,[42] The Shawshank Redemption received a limited North American release on September 23, 1994. During its opening weekend, the film earned $727,000 from 33 theaters—an average of $22,040 per theater. It received a wide release on October 14, 1994, expanding to a total of 944 theaters to earn $2.4 million—an average of $2,545 per theater—finishing as the number 9 film of the weekend, behind sex-comedy Exit to Eden ($3 million) and just ahead of Quiz Show ($2.1 million) which was in its fifth week at the cinemas.[6][24] The film left theaters in late November 1994, after 10 weeks with an approximate total gross of $16 million.[43] It was considered a box office bomb, failing to recoup its $25 million budget, not including marketing costs and the cinema exhibitors cuts.[4] Following a Hollywood tradition of visiting different theaters on opening night to see the audiences view their film live, Darabont and Glotzer went to the Cinerama Dome, but found no one there, with Glotzer claiming that the pair actually sold two tickets outside the theater with the promise that if they did not like the film, they could ask Castle Rock for a refund.[4]

text: The film was also competing with similarly-themed movies, Pulp Fiction ($108 million)[5] which also premiered October 14 following its Palme d'Or award win, and Forrest Gump ($330 million)[5] which was in the middle of a successful 42-week long theatrical run.[40] Both films would become quotable cultural phenomenons, and a general audience trend towards action films starring the likes of Bruce Willis and Arnold Schwarzenegger was also considered to work against The Shawshank Redemption.[4] Freeman blamed the title, saying it was unmemorable,[4] with Robbins recalling fans asking "What was that Shinkshonk Reduction thing?". The low box office was also blamed on a lack of female characters to broaden the audience demographic, and a general unpopularity of prison films.[44]

text: After being nominated for several Oscars in early 1995,[4] the film received a re-release between February and March that year.[43] In total, the film made about $28.3 million in North American theaters, making it the 51st-highest-grossing film of 1994 and the 21st-highest grossing R-rated film of 1994,[24] and an approximate $30 million from markets elsewhere; a worldwide total of $58.3 million.[5]

text: Critical response[edit]

text: Despite its poor box office returns, The Shawshank Redemption opened to generally positive reviews.[48][42][49] Reviewers compared the film to other well-received imprisonment dramas, including Birdman of Alcatraz, One Flew Over the Cuckoo's Nest, Cool Hand Luke, and Riot in Cell Block 11.[50][51] Gene Siskel said that like One Flew Over the Cuckoo's Nest, The Shawshank Redemption is an inspirational drama about overcoming overbearing authority.[51]

text: Freeman's performance as Red was frequently praised. Entertainment Weekly's Owen Gleiberman said that Freeman makes the Red character feel genuine and "lived-in",[52] while Janet Maslin of The New York Times said that Freeman was quietly impressive, while lamenting that Red's role in the film had limited range, restricted to observing Andy, while Maslin considered that Freeman's commanding performance made him a much strong figure. Maslin said that Freeman's performance was especially moving when describing how dependent Red had become on living within prison walls.[53] Variety's Leonard Klady suggested that Freeman had the "showier" role, allowing him "a grace and dignity that come naturally", without ever becoming banal,[45] and The Washington Post's Desson Howe called Freeman a "master" of comedic and poignant cadence.[54] Even Kenneth Turan's Los Angeles Times review, which Glotzer credited with derailing the film's box office success, praised Freeman, saying his "effortless screen presence lends Shawshank the closest thing to credibility it can manage.[55]

text: Robbins' performance received more mixed reviews, with Gleiberman saying that in his "laconic-good-guy, neo-Gary Cooper role, [Robbins] is unable to make Andy connect with the audience."[52] Conversely, Maslin said that Andy has the more subdued role, but that Robbins portrays him intensely, and effectively portrays the character as he transitions from new prisoner to aged father figure,[53] and Klady stated that his "riveting, unfussy... precise, honest, and seamless" performance anchors the film.[45] Howe said that while the character is "cheesily messianic" for easily charming everyone to his side, comparing him to "Forrest Gump goes to jail", Robbins exudes the perfect kind of innocence to sell the story.[54] The Hollywood Reporter stated that both Freeman and Robbins gave outstanding, layered performances that imbued their characters with indiviudality,[46] and Rolling Stone's Peter Travers that the pair create something "undeniably powerful and moving".[50] Gunton and Brown were cited as "extremely credible" as villains,[45] Howe countered that Gunton's warden was a cliched character who extols religious virtues while having people murdered.[54]

text: Darabont's direction was well received, with Maslin calling the film an impressive directorial debut that tells a gentle tale with a surprising amount of loving care,[53] and Klady saying the only failings came when Darabont focused for too long on supporting characters, or embellished a secondary story.[45] The Hollywood Reporter saying that both the directing and writing were crisp, while criticizing the films long running time.[46] Klady said that the length and tone, while tempered by humor and unexpected events, would dampen the film's mainstream appeal, but the story offered a fascinating portrait of the innate humanity of the inmates.[45] Gleiberman disliked that the prisoners' crimes were overlooked to portray them more as good guys.[52] Turan similarly objected to what he perceived as extreme violence and rape scenes, and making most of the prisoners seem like a "bunch of swell and softhearted guys" to cast the prison experience in a "rosy glow".[55] Klady summarized the film as estimable and haunting, comparing it to a rough diamond with small flaws,[45] but Howe criticized it for deviating with multiple subplots, and pandering by choosing to resolve the story with Andys and Reds reunion, rather than leaving the mystery.[54] Ebert noted that the story works because it is not about Andy as the hero, but how Red perceives him.[42]

text: Deakins cinematography was routinely praised,[45] with The Hollywood Reporter calling it "foreboding" and "well-crafted",[46] and Travers saying "the everyday agonies of prison life are meticulously laid out... you can almost feel the frustration and rage seeping into the skin of the inmates."[50] Gleiberman praised the choice of scenery, writing that the "moss-dark, saturated images have a redolent sensuality" that makes the film very realistic.[52] The Hollywood Reporter said of Newman's score, "at its best moments, alights with radiant textures and sprightly grace notes, nicely emblematic of the film's central them",[46] and Klady describing it as "the right balance between the somber and the absurd".[45]

text: Accolades[edit]

text: The film was nominated for seven Academy Awards in 1995, the most for a Stephen King film adaptation,[56] without winning in any category: Best Picture, Best Actor for Freeman, Best Adapted Screenplay for Frank Darabont, Best Cinematography for Roger Deakins, Best Editing for Richard Francis-Bruce, Best Sound Mixing for Robert J. Litt, Elliot Tyson, Michael Herbick, and Willie D. Burton,[57] and Best Original Score for Thomas Newman (his first Academy Award nomination).[37] It received two Golden Globe Award nominations for Best Performance by an Actor in a Motion Picture for Freeman, and Best Screenplay for Darabont.[58]

text: Robbins and Freeman were both nominated for Outstanding Performance by a Male Actor in a Leading Role at the inaugural Screen Actors Guild Awards in 1995.[59] Darabont was nominated for a Directors Guild of America award in 1994 for Best Director of a feature film,[60] and a Writers Guild of America Award for Best Adapted Screenplay.[61] Deakins won the American Society of Cinematographers award for Outstanding Achievement in Cinematography,[47] while producer Niki Marvin was nominated for a 1994 Golden Laurel Award by the Producers Guild of America.[61]

text: Themes[edit]

text: Chicago Sun-Times film reviewer Roger Ebert argued that The Shawshank Redemption is an allegory for maintaining one's feeling of self-worth when placed in a hopeless position. Andy Dufresne's integrity is an important theme in the story line, especially in prison, where integrity is lacking.[62] Isaac M. Morehouse suggests that the film provides a great illustration of how characters can be free, even in prison, or unfree, even in freedom, based on their outlooks on life.[63]

text: During a cast reunion q&a, moderator Max Brooks noted that the story is unique in depicting a nonsexual love story between two men.[64]

text: Philosopher Alexander Hooke has argued that the film succeeds in depicting Jean-Paul Sartre's ideas about existentialism more fully than any other contemporary movie.[65]

text: Legacy[edit]

text: Darabont later adapted and directed two other King stories, The Green Mile (1999) The Mist (2007).[66] In a 2016 interview, King said that The Shawshank Redemption was his favorite adaptation of his work, alongside Stand by Me.[67] The film was adapted into a 2015 stage play in the United Kingdom.[68]

text: Post theatrical releases[edit]

text: In what at the time was considered a risky move, despite its disappointing box-office return, Warner Bros shipped 320,000 rental video copies throughout the United States. However, it went on to become one of the top rented films of 1995.[6] The film's home viewing success was considered to be based on positive recommendations and repeat customers, and was being received well by male and female audiences.[44]

text: Ted Turner's Turner Broadcasting System had acquired Castle Rock in 1993, which enabled his TV channel, TNT, to obtain the cable-broadcast rights to the film.[5] According to Glotzer, because of the low box office numbers, TNT could air the movie with very low costs but still charge premium advertising space, and the film started airing on the network beginning in June 1997.[5][4] The film was the first feature in TNT's Saturday Night New Classics, and would air nearly daily.[4] TV airings of the film accrued record-breaking numbers,[44] and its repeated airing was considered essential for turning the film's original poor box-office performance into being a cultural phenomenon.[4] Darabont felt the turning point for the film's success was the Academy Award nominations, saying "nobody had heard of the movie, and that year on the Oscar broadcast, they were mentioning this movie seven times."[18]

text: By 2013, The Shawshank Redemption had aired on 15 basic cable networks, and in that year occupied 151 hours of airtime, rivaling Scarface (1983) and behind only Mrs. Doubtfire (1993), it was in the top 15% of movies among adults between the ages of 18 and 49 on the Spike, Up, SundanceTV, and Lifetime channels. Despite its male-centric cast it was the most watched movie on the female-targeted OWN network. In a 2014 Wall Street Journal article, it was estimated that based on the margins studios take from box office returns, home media sales, and television licensing, The Shawshank Redemption had made $100 million. Jeff Baker, then-executive vice president and general manager of Warner Bros. Home Entertainment, said that the home video sales had earned approximately $80 million.[5] While Warner Bros. does not report what it earns in licensing the film for TV, in 2014 former and current executives at the studio confirmed that it was one of the highest valued assets in Warner Bros. $1.5 billion library.[69] That same year, Gunton said that by its 10th anniversary in 2004 he was still earning six-figure residual payments, and was still earning a "substantial income" from it, which was considered unusual so many years after its release.[70]

text: Reception[edit]

text: Contemporary review aggregation website Rotten Tomatoes offers a 91% approval rating from 66 critics—an average rating of 8.2 out of 10, which provides the consensus, "The Shawshank Redemption is an uplifting, deeply satisfying prison drama with sensitive direction and fine performances."[71] The film also has a score of 80 out of 100 on Metacritic based on 20 critics indicating "generally favorable reviews".[72] It has been #1 on IMDb's user-generated Top 250 since 2008, when it surpassed The Godfather,[73] having remained at or near the top since the late 1990s.[41]

text: The film has been nominated or appeared on the American Film Institute's lists celebrating the top 100 film or film-related topics. In 1998, it was nominated for 100 Movies list, and was number 72 on the 2007 revised list, outranking Forrest Gump (number 76) and Pulp Fiction (number 94).[74][75] It was also number 23 on AFI's 100 Years...100 Cheers (2006) charting inspiring films.[76] It also received nominations in the 100 Heroes & Villains for Andy and warden Norton respectively,[77] 100 Movie Quotes for "Get busy livin', or get busy dyin'",[78] 100 Songs for Duettino – Sull'Aria (from The Marriage of Figaro),[79] and AFI's 100 Years of Film Scores for Newman's work.[80] In 2013, Complex magazine listed it as the 9th best film of the 1990s.[81]

text: In 1999, film critic Roger Ebert listed Shawshank on his list of The Great Movies,[82] and in 2005 the Writers Guild of America listed Darabont's screenplay at number 22 on its list of the 101 Greatest Screenplays.[83]

text: The film has remained popular in various countries around the world. In the United Kingdom, readers of Empire magazine voted the film as the best film of the 1990s, and it placed number 4 on Empire's list of "The 500 Greatest Movies of All Time" in 2008.[44][84] In March 2011, the film was voted by BBC Radio 1 and BBC Radio 1Xtra listeners as their favorite film of all time.[85] It regularly appears in Empire's top 100 films, and ranked as Britain's favorite film in a 2015 YouGov poll. When the British Film Institute analysed the demographic breakdown of the YouGov poll, it noted that The Shawshank Redemption was not the top ranked film in any group, but was the only film to appear in the top 15 of every age group, suggesting it is able to connect with every polled age group, unlike Pulp Fiction which fared better with younger voters, and Gone with the Wind (1939) with older voters. When film critic Mark Kermode interviews United States fans, they described it as a "religious experience".[40] A poll conducted by Gatwick Airport also identified the film as the fourth-best to watch while in flight.[86] It was also voted as New Zealand's favorite film in a 2015 poll.[87]

text: Cultural impact[edit]

text: In November 2014, the Academy of Motion Picture Arts and Sciences celebrated the film's 20th anniversary with a special one-night screening at the Samuel Goldwyn Theater in Beverly Hills, California.[18] In 2015, the film was selected by the United States Library of Congress to be preserved in the National Film Registry for being "culturally, historically, or aesthetically significant". Darabont responded "I can think of no greater honor than for The Shawshank Redemption to be considered part of our country's cinematic legacy".[48] Variety said that the term "Shawshank" could be used to instantly convey images of a prison.[6]

text: Critics have sometimes struggled to define the immense public appreciation for the film.[48] In an interview, Freeman quotes, "About everywhere you go, people say, 'The Shawshank Redemption—greatest movie I ever saw'" and that such praise "Just comes out of them". Robbins states, "I swear to God, all over the world—all over the world—wherever I go, there are people who say, 'That movie changed my life' ".[4] In a separate interview, Stephen King said, "If that isn't the best [adaptation of my works], it's one of the two or three best, and certainly, in moviegoers' minds, it's probably the best because it generally rates at the top of these surveys they have of movies. . . . I never expected anything to happen with it."[88] In a 2014 Variety article, Robbins claimed that South African politician Nelson Mandela told him about his love for the film,[4] while Gunton said he had encountered fans in Morocco, Australia, South America,[89] Germany, France, and Bora Bora.[7] Director Steven Spielberg said that the film was "a chewing-gum movie—if you step on it, it sticks to your shoe."[8]

text: The oak tree, under which Andy leaves a note for Red directing him to Zihuatanejo, became a symbol of hope for its role in the film.[27] It was split by lightning on July 29, 2011; officials were unsure if the tree would survive.[90] However, due to rally groups and inspections by forestry organizations, the tree was found to be alive and well.[91] The tree was completely felled by strong winds on or around July 22, 2016.[90]

text: The prison site became a tourist attraction,[14] with many of the rooms and props remaining including the false pipe through which Andy escapes,[15] and a portion of the oak tree from the finale, following it being damaged in 2011.[16] The surrounding area is also visited by fans, while local businesses market "Shawshanwiches" and Bundt cakes in the shape of the prison. The prison itself was to be torn down completely following filming, but was eventually sold to enthusiasts for $1.[15] According to the Mansfield/Richland County Convention and Visitors Bureau (later renamed Destination Mansfield),[28] tourism in the area had increased every year since The Shawshank Redemption premiered, and in 2013 drew in 18,000 visitors and over $3 million to the local economy.[16] As of 2017, Destination Mansfield operates the Shawshank Trail, a series of 15 marked stops around locations related to the film across Mansfield, Ashland, Upper Sandusky, and St. Croix.[28]

text: From August 29 to September 1, 2013, a series of events were held in Mansfield, Ohio, to celebrate the 20th anniversary of the film. The events included a screening of the film at the Renaissance Theatre, where it originally premiered, tours of some of the filming locations, and a cocktail at the Ohio State Reformatory which posed as Shawshank State Penitentiary for the film. The cocktail was attended by Gunton, Scott Mann and James Kisicki, who signed autographs and shared stories with the fans. Darabont sent a video greeting the fans who celebrated the anniversary. More than 6,000 fans of the film attended the events.[92][93]


document_title: Big Mac

question_text: what is mcdonald's special sauce on the big mac

question_tokens: what is mcdonald 's special sauce on the big mac

root

text: Big Mac

text: History

text: The Big Mac was created by Jim Delligatti, an early Ray Kroc franchisee,[1] who was operating several restaurants in the Pittsburgh area. It was invented in the kitchen of Delligatti's first McDonald's franchise, located on McKnight Road in suburban Ross Township.[2] The Big Mac had two previous names, both of which failed in the marketplace: the Aristocrat, which consumers found difficult to pronounce and understand, and Blue Ribbon Burger. The third name, Big Mac, was created by Esther Glickstein Rose, a 21-year-old advertising secretary who worked at McDonald’s corporate headquarters in Oak Brook, Illinois.[3] The Big Mac debuted at Delligatti's Uniontown, Pennsylvania restaurant in 1967, selling for 45 cents.[4] It was designed to compete with Big Boy Restaurants' Big Boy hamburger; Eat'n Park was the Pittsburgh area's Big Boy franchisee at the time.[5] The Big Mac proved popular, and it was added to the menu of all U.S. restaurants in 1968.[4]

tag: p

text: Product

text: The Big Mac consists of two 1.6 oz (45.4 g) beef patties, "special sauce" (a variant of Thousand Island dressing), iceberg lettuce, American cheese, pickles, and onions, served in a three-part sesame seed bun.[6]

text: The Big Mac is known worldwide and is often used as a symbol of American capitalism. The Economist has used it as a reference point for comparing the cost of living in different countries – the Big Mac Index – as it is so widely available and is comparable across markets. This index is sometimes referred to as Burgernomics.[7]

text: Special sauce

text: The name was popularized by a 1974 advertising campaign featuring a list of the ingredients in a Big Mac: "Two all-beef patties, special sauce, lettuce, cheese, pickles, onions – on a sesame seed bun."[8]

text: Big Mac Sauce is delivered to McDonald's restaurants in sealed canisters designed by Sealright, from which it is meant to be directly dispensed using a special calibrated "sauce gun" that dispenses a specified amount of the sauce for each pull of the trigger.[9] Its design is similar to a caulking gun.

text: In 2012, McDonald's admitted that "the special sauce ingredients were not really a secret" because the recipe had been available online "for years".[10] It consists of store-bought mayonnaise, sweet pickle relish and yellow mustard whisked together with vinegar, garlic powder, onion powder and paprika.[10]

text: Packaging

text: The Big Mac, along with many other McDonald's products, was first served in a "clamshell" styrofoam container that was phased out beginning in 1990 due to environmental concerns.[11] The product is now sold in a collapsible cardboard box.

text: Advertising

text: The earliest instances of McDonald's utilizing advertising for the burger were mainly print ads, and a TV ad in which Hoyt Axton sings "The Ballad of Big Mac" which aired in 1969.

text: Two all-beef patties slogan

text: The Two all-beef patties, special sauce, lettuce, cheese, pickles, onions – on a sesame seed bun concept for the jingle was created by Keith Reinhard, Chairman Emeritus of DDB Worldwide, and his creative group at Needham Harper and Steers. Originally, the ingredients appeared as a one-word heading for a McDonald's ad developed for college newspapers. The words were then set to music created by Mark Vieha, who performed the original jingle. The first run of commercials ran only a year and a half, going off the air in 1976, but its popularity remained beyond its TV life. Subsequent to the jingle, McDonald's followed up with a promotion based on its customers spontaneously having a "Big Mac Attack".

text: Many franchises in the United States ran promotions during the original campaign that awarded a free burger to customers who could recite the slogan within a specified time (usually two or three seconds). One example of its success was that the McDonald's operators in New York City ran out of Big Mac buns.[citation needed] McDonald's Australia emulated this promotion in the mid-1980s, and some Brazilian McDonald's around the same time (only offering a free glass of Coca-Cola instead), in the Portuguese-language version, which is "Dois hambúrgueres, alface, queijo, molho especial, cebola e picles num pão com gergelim".

text: In 2003, McDonald's revived the phrase. In an English-language ad from McDonald's international "i'm lovin' it" campaign, a rapper rapidly spouts off the trademark in the background music. Also in 2003, American Greetings and Carlton Cards released a Christmas ornament of a Big Mac, on which the slogan was both printed and played aloud by pulling on a string. Roy Bergold, National Advertising Manager at McDonald's, has a big hand in championing the original campaign and helping to bring it back.

text: In 2008, the phrase was revived by McDonald's Malaysia. The revival includes the original prize of a free Big Mac if the customer is able to recite the phrase in under four seconds. This was released in May, along with the promotional Mega Mac, which has four beef patties rather than the standard two.[12]

text: 1980s advertising

text: In the early 1980s, as a promotion, McDonald's staged an in-house rivalry between their two most popular products. Consumers were invited to decide "Which one will be number one? Chicken McNuggets or Big Mac sandwiches?" For each of either item that a customer bought, they received another of the same at half price. Later in the ad campaign, the second was offered for free. It was eventually announced that the Big Mac was "number one".

text: 2005 advertising

text: In 2005, McDonald's began offering product placement rewards to hip hop artists who namechecked the Big Mac in their music, giving US$5 to the artist for every time a song mentioning the hamburger was played on the radio.[13] This offer quickly spawned a satirical reference from hip hop artist Mad Skillz, who references the marketing ploy in his track "2005 Wrap Up" by stating "And I'm beefin' wit' Mickey D's man, y'all dead wrong, Talkin' 'bout payin' rappers to mention Big Macs in their song, We do rap from the heart, y'all better have some respect, Alright, Big Mac! Big Mac! Big Mac! Now where's my check?"

text: Variants

text:
The Mega Mac or Double Big Mac: four 1.6 oz (45.4 g) beef patties and an extra slice of cheese. Available in Australia, Canada, China, Egypt, Ireland, Japan, Malaysia (during promotional periods only), Turkey, Singapore, Pakistan, South Korea, and Thailand.[12] Discontinued in New Zealand. In the United States, buyers can ask to double their Big Mac with two additional patties, although this is limited to only certain states. The Double Big Mac is the biggest regular hamburger produced by the chain and has 680 calories.[14]
Big Big Mac: a Quarter Pounder–like product sold in Europe (Finland, Belgium, Spain, Portugal, and Italy). Has been sold periodically in Sweden, there called "Grand Big Mac" (where "Grand" was pronounced in British, not American, English, in their advertising[not in citation given]).[15]
The Denali Mac: made with two quarter pound patties. Named after Denali in Alaska, and sold only in that state.[16][17] Also known as the Bigger Big Mac as a limited-time offer product to celebrate the 2006 FIFA World Cup.
In India, where consuming beef is illegal in most states, the Big Mac is known as the Maharaja Mac and was originally made with lamb instead of beef; however, along with the company's other items, it is now made from chicken.[18][19] A vegetarian option is also available, substituting corn patties in the place of beef.
The Chicken Big Mac is a Big Mac with two breaded chicken patties sold in Pakistan, Egypt, UAE, Kuwait, and Qatar.[20][21][22]
The Giga Big Mac is a larger version of the Big Mac with three times the meat of a Big Mac sold in Japan.[23]

tag: ul

text:
Mac Jr. is a reduction of the standard Big Mac. It uses a two-piece bun and contains only one beef patty. Available in the U.S. beginning in 2017.[25]
Grand Mac uses larger patties, at 1⁄3 pound (150 g) combined. Available in the U.S. beginning in 2017.[25]
Big Mac BLT is a standard Big Mac burger with the addition of bacon and tomato. Released in Australia in late 2017.[26]

text: McDonaldland character

text: In addition to the McDonald's signature hamburger, Big Mac was the name of a character, Officer Big Mac, in McDonaldland, the fictional world created as an advertising campaign for McDonald's. Officer Big Mac was similar to Mayor McCheese, except he was the chief of police, wearing a constable uniform and sporting a large Big Mac for a head.

text: Museum

text: On August 22, 2007, McDonald's opened the Big Mac Museum in North Huntingdon, Pennsylvania to celebrate the Big Mac’s 40th anniversary. The museum features the world's largest Big Mac statue (measuring 14 feet high and 12 feet wide) and has hundreds of historic artifacts and exhibits that celebrate the Big Mac.[27][28]

text: Some Uniontown residents were unhappy with the selected location;[29] a McDonald’s spokesperson said that the decision was based on ease of highway access.[30]

text: Nutritional values per geographical location

text: The Big Mac is a geographically localized product. In the United States, the Big Mac has 550 kcal (2,300 kJ), 29 grams of fat and 25 grams of protein. In Australia, the burger is slightly smaller with 493 kcal (2,060 kJ) and 26.9 grams of fat, but similar amounts of protein with 25.2 grams,[31] while the Japanese burger tops out the scales at 557 kcal and 30.5 grams of fat. Several Mcdonald's subsidiaries adapt the standard features of the Big Mac (from the USA) to regional requirements.[32]

text:
Comparisons of the Big Mac standard nutritional values in different countries - Sodium values converted to their salt equivalents, rounded and in bold

Country
Energy kcal
Carbohydrates g
Protein g
Fat (total) g
Dietary fiber g
Salt equivalent mg
Serving
size
(weight) g
Reference

 Argentina
485
40
24
26
3.3
2005

.ar

 Australia
493
35.3
25.2
26.9

2148
201
.au[dead link]

 Austria
495
40
27
25
3
2300
219
.at

 Belgium
495
40
27
25

2300

.be

 Bosnia and Herzegovina
510
41
27
26
3
2200

.ba

 Brazil
491
40
26
26
3.8
2033

.br

 Canada
520
45
23
28
3
2413
209
.ca

 Chile
478
40
26
24
4
2133

.cl[permanent dead link]

 China
520
46
26
26

.cn

 Croatia
510
41
27
26
3
2200

.hr

 Czech Republic
510
41
27
26

2200

.cz

 Denmark
510
41
27
26.1
3
2200

.info

 Egypt
522

28.235
25.911

.eg

 Finland
510
41
27
26
3
2200

.fi

 France
508
42
27
26
3.1
2300
221
.info

 Germany
510
41
27
26
3
2200
221
.de

 Greece
495
40
27
25
3
2300
221
.gr

 Hong Kong
497
43.1
26.4
24.2

2003

.hk

 Hungary
510
41
27
26
3
2200

.info

 Ireland
490
41
28
24
4
2100

.ie

 Italy
510
41
27
26
3
2200

.info[dead link]

 Japan
557
45.2
25.5
30.5

2800

.jp

 Lithuania
509
42
27
26
3.1
2300
219
.lt

 Malaysia
484
46
26
23

1825
209
.my

 Mexico
486
45
22
26
3
2228

.mx[permanent dead link]

 Netherlands
510
41
27
26
3
2200

.info

 New Zealand
494
36.8
26.4
25.9

2415
202
.nz[dead link]

 Norway
510
41
27
26
3
2200

.no

 Poland
510
41
27
26
3
2200

.info

 Portugal
509
42
27
26
3.2
2300
219
.pt

 Romania
510
41
27
26
3
2200

.info[dead link]

 Russia
495
40
27
25
3
2300

.info[dead link]

 Serbia
493
40
27
25
3
2300

.rs

 South Africa
496
39
24.3
26.4
3.2
2433

.za

 South Korea
510

26

2533
213
.kr

 Sweden
505
42
26
26
3
2300
219
.se

  Switzerland
510
41
27
26
3
2200

.info

 Taiwan
530
45
27
26

.tw

 Turkey
480
43
28
22

2100

.tr

 United Kingdom
508
43
26
25
3.6
2300

.uk

 United States
540
47
25
28
3
2426
215
.us

tag: table


document_title: Interphase

question_text: what happens during the s stage of interphase

text: Interphase

text: Stages of interphase[edit]

text: There are three stages of cellular interphase, with each phase ending when a cellular checkpoint checks the accuracy of the stage's completion before proceeding to the next. The stages of interphase are:

text:
G1 (Gap 1), in which the cell grows and functions normally. During this time, a high amount of protein synthesis occurs and the cell grows (to about double its original size) – more organelles are produced and the volume of the cytoplasm increases. If the cell is not to divide again, it will enter G0.[3]
Synthesis (S), in which the cell duplicates its DNA (via semiconservative replication).
G2 (Gap 2), in which the cell resumes its growth in preparation for division. The mitochondria divide and the cell continues to grow until mitosis begins. In plants, chloroplasts also divide during G2.
In addition, some cells that do not divide often or ever, enter a stage called G0 (Gap zero), which is either a stage separate from interphase or an extended G1.

text: The duration of time spent in interphase and in each stage of interphase is variable and depends on both the type of cell and the species of organism it belongs to. Most cells of adult mammals spend about 20 hours in interphase; this accounts for about 90% of the total time involved in cell division.[4] Interphase includes G1, S, and G2 phases. Mitosis and cytokinesis, however, are separate from interphase.

text: Interphase within sequences of cellular processes[edit]

text: Interphase and the cell cycle[edit]

text: When G2 is completed, the cell enters a relatively brief period of nuclear and cellular division, composed of mitosis and cytokinesis, respectively. After the successful completion of mitosis and cytokinesis, both resulting daughter cells re-enter G1 of interphase.

text: In the cell cycle, interphase is preceded by telophase and cytokinesis of the M phase. In alternative fashion, interphase is sometimes interrupted by G0 phase, which, in some circumstances, may then end and be followed by the remaining stages of interphase. After the successful completion of the G2 checkpoint, the final checkpoint in interphase, the cell proceeds to prophase, or in plants to preprophase, which is the first stage of mitosis.

text: G0 phase is viewed as either an extended G1 phase where the cell is neither dividing nor preparing to divide and or as a distinct quiescent stage which occurs outside of the cell cycle.[5]

text: Interphase and other cellular processes[edit]

text: In gamete production interphase is succeeded by meiosis. In programmed cell death, interphase is followed or preempted by apoptosis.


document_title: John Rowland (Desperate Housewives)

question_text: when does carlos find out about the affair

text: John Rowland (Desperate Housewives)

text: Development and casting[edit]

text: Before Jesse Metcalfe was cast as John Rowland, actor Kyle Searles originated the role in the unaired pilot of the show.[1] In June 2004, ABC called for three starring cast members to be recast.[2] Metcalfe replaced Searles as John Rowland, as producers wanted to add more sexual appeal to the role "to justify why (Gabrielle) was having an affair."[3] Metcalfe had previously read for the role during the initial casting process.[4] He began playing the seventeen-year-old gardener when he was twenty-five.

text: Metcalfe was a regular cast member during the first season. However, after the affair is revealed to Carlos in the first season finale by John himself, Metcalfe left the regular cast. Since his departure, he has made several guest appearances in subsequent seasons.

text: History[edit]

text: Season 1[edit]

text: John Rowland is employed by Gabrielle and Carlos Solis as a gardener. Gabrielle, having become bored with her husband never being with her, decided to seduce her teenage gardener. The pair embarked on an illicit affair which encountered several difficulties. The most prolific of these difficulties came when Gabrielle's mother in law, Mama Solis, arrived to Wisteria Lane, called out by her son to find out if Gabrielle is in fact cheating on him. Consequently, Juanita struck out on a mission to learn the truth. However, she was hit by a car driven by Andrew Van de Kamp after discovering the affair. The hit and run placed Juanita into a coma. John became overwhelmed with guilt and confessed the affair to Father Crowley. John's mother, Helen Rowland, overheard a conversation between her son and his friend Justin, in which they alluded to the fact the John was sleeping with a housewife. Helen suspected of Susan Mayer, but then Gabrielle confessed to her and she promised that it was over, to which Helen replied by saying "It's not even close to being over". Afterwards, when the police arrive at the Solis house to arrest Carlos, Gabrielle thinks they have come for her, sent by Helen. Weeks later, in the episode "Your Fault", the Rowlands meet with Gabrielle to tell her John has moved out and they expect her to help them move back into their house. Gabrielle meets with John, and he proposes to her. Gabrielle is forced to reject him. It is later revealed that Danielle Van de Kamp has a crush on John and wants to give him her virginity, but her mother Bree stopped that from happening. John becomes entranced once again by Gabrielle and may have conceived her unborn child. He demanded to see Carlos but Gabrielle refused, explaining to him that Carlos is the father of the child no matter what because he can provide.

text: Instead of backing up, John arrived at Carlos's gay hate trial in the season finale and told him "he got the wrong guy". "Didn't you think it was strange that you had the only lawn on Wisteria Lane that needed to be mowed three times a week?", he said. Carlos went mad and attempted to attack John but it looked like he was attacking Justin – the gay person he beat up previously. Carlos was then arrested. While discussing the courtroom scene in which Carlos attacks John, Ricardo Antonio Chavira commented: "People can see the full rage that is in my character. I'm yelling at him, 'I'm gonna kill you' ... Then I broke into Spanish: "Te voy a matar!" ... I just went for it ... Then I looked, and Jesse [Metcalfe] had the most honest look of sheer terror. I think I scared the living shit out of him."[5] Another scene between Gabrielle and John was also cut for time.[6]

text: Season 2[edit]

text: After what happened at the court in the previous season, Gabrielle breaks up with John. John goes and look for new housewives to be with intimately, and starts having an affair with 41-year-old Joan. Upon finding this out, Gabrielle destroys Joan's garden, and shuts John out of her life.

text: The beginning of Gabrielle's affair with John is first seen in the second season finale in flashbacks. After their first sexual encounter, Gabrielle tells John that this was the only time it would ever happen.

text: Season 3[edit]

text: John is not seen again until early in the third season. According to his dialogue in episode 3.03 (A Weekend in the Country), he is doing well and is very rich and successful with his gardening company. He is engaged to the daughter of the Sinclair Hotel owner, Tammy Sinclair. John and Gabrielle hook up in this episode, but John explains to her later that he is not planning on risking his marriage by having an affair with her. About half a year later, in episode 3.17 (Dress Big) Gabrielle tells Edie Britt that John is married.

text: Season 4[edit]

text: In the fourth season, John meets Gabrielle at a hotel owned by his father-in-law and realizes that he still loved her. He constantly fights with his wife over the fact that she wants to lead his life. He tries to get back with Gabrielle, but she refuses because his wife is pregnant and she is married to Victor Lang but having an affair with Carlos. Carlos, who eavesdrops this, soon realizes he is not unlike John used to be and finally forgives him. John then just asks if he thinks Gabrielle is happy. And Carlos replies "I think she is".

text: Season 6[edit]

text: John reappears in the sixth season, set six years after the events of the fourth season. He is divorced from Tammy, but managed to get a huge amount of money from the divorce, so he now owns a restaurant. John sees Gabrielle in the restaurant, along with Carlos, their daughters and their niece, Ana Solis. While Gabrielle looks a mess, John notices how beautiful Ana is and is surprised that she is from Carlos's side of the family. When Gabrielle fixes herself up, Carlos suspects that she still has feeling for John. John offers to hire Ana as a waitress and Gabrielle declines, Carlos says that this is because she was jealous. After consulting Carlos, John hires Ana. Gabrielle sees John drop her off from work, she is furious with John for trying to flirt with Ana and concludes that she will now be picking Ana up from work. Gabrielle finds out that Ana bought condoms as she is in love with John and she goes to his restaurant to tell him to leave her alone. John believes that Gabrielle still has feelings for him and kisses her after expressing that he can provide for her now, she declines him yet again. Ana sees them kissing and Gabrielle tells her of the affair that happened many years before.

text: Reception[edit]

text: John Rowland was viewed as a sex symbol for the show during its first season. John, who USA Today described as "buff 'n' sweaty", became popular with mothers who watched the show and helped Metcalfe become established as "the [show's] hottest sex symbol".[3] Longoria attributed John's appeal to the fact that he was seen shirtless in every episode, also describing him as "a really innocent young kid who hasn't been tainted by the world. And I think that's very endearing to people who watch."[3] While reviewing the first season finale, Ann Hodgman of Entertainment Weekly stated that her interest in the Gabrielle and Carlos storyline was ruined by John telling Carlos about the affair rather than Carlos discovering it himself.[7]