document_title: Valar Dohaeris

question_text: where is robb stark in season 3 episode 1

text: Valar Dohaeris

text: Plot[edit]

text: Beyond the Wall[edit]

text: The episode opens shortly after White Walkers have attacked the Night's Watch force and left only a small number of survivors. During a subsequent blizzard, Samwell Tarly is attacked by a wight, but is saved by the direwolf Ghost and Lord Commander Jeor Mormont. The Lord Commander reprimands Samwell for failing to send ravens south to warn of the incoming army and orders the survivors to head back to the Wall.

text: Jon Snow, still a prisoner of Ygritte and the wildlings, arrives at the wildling camp and is escorted to meet with Mance Rayder. When brought to his tent, Jon initially mistakes Tormund Giantsbane for the King-beyond-the-Wall, but Mance reveals himself to Jon and questions Jon's motives for deserting the Night's Watch. Jon earns Mance's approval by describing his disgust after discovering that Craster gave his baby sons to the White Walkers, and that the Lord Commander knew but did nothing, adding that he wants "to fight for the side that fights for the living".

text: In King's Landing[edit]

text: Newly knighted Ser Bronn has returned to Tyrion Lannister's service, for a much higher fee. Tyrion, who has been scarred since the Battle of Blackwater, has been a shut-in recluse ever since the arrival of his father Tywin, who has taken the glory for the victory over Stannis Baratheon's forces. Cersei visits Tyrion and questions what he will say to their father. When Tyrion meets with Tywin, who has assumed the role of Hand of the King, Tywin reluctantly agrees to Tyrion's request for recognition of his accomplishments during the Battle of Blackwater. However, when pressed by Tyrion to name him heir to Casterly Rock, the Lannister ancestral home, Tywin refuses, and viciously insults Tyrion, calling him an embarrassment and a penance that he must suffer, also heavily implying that he does not believe Tyrion to be legitimate and making a mockery of the family name. As Tyrion leaves, Tywin threatens to hang the next whore he finds in Tyrion's bed.

text: Petyr Baelish approaches Sansa Stark, who is still being accompanied by Shae. Petyr informs Sansa that he is in negotiations to take a role that would remove him from King's Landing. He offers to smuggle her out if Sansa can keep quiet about the plan. Ros is careful to tell Shae to watch out for Sansa's well-being, especially when dealing with Lord Baelish.

text: King Joffrey Baratheon and his betrothed Lady Margaery Tyrell travel through Flea Bottom in a caravan, when Margaery stops and exits her litter and goes to an orphanage to comfort the children. Joffrey, meanwhile, hides in his litter with the windows shut. At dinner with Cersei, Margaery, and Loras Tyrell, Joffrey trades insults with his mother while the Tyrells show perfect unity and harmony.

text: In Blackwater Bay[edit]

text: Davos Seaworth is left stranded on a rock in Blackwater Bay after the destruction of his ship in the Battle of the Blackwater. He is picked up by a ship belonging to his old friend, the pirate Salladhor Saan. Davos recounts seeing his son, Matthos, die. Salladhor reveals that he is leaving Stannis Baratheon's service due to Stannis' defeat and Salladhor's belief that Stannis is unable to deliver what Davos had promised in his name. He also tells Davos that Stannis is in seclusion at Dragonstone, and that Melisandre is burning people alive at his castle and she is the only one with whom Stannis will speak. Davos asks Salladhor to drop him off there, intending to stop Melisandre's influencing Stannis by assassinating her, and Salladhor agrees despite being afraid that this will mean Davos's death.

text: At Dragonstone[edit]

text: Davos is given an audience with Stannis, and is shocked to discover that Stannis is indifferent to his survival and refuses to send Melisandre away. Melisandre insinuates to Davos that it is his fault the battle was lost, since he convinced Stannis to leave her behind and thus prevented Melisandre from using her magic to influence the battle's outcome. When she mentions Matthos, Davos loses his temper and tries to attack her, though the guards restrain him and Stannis orders him thrown in the dungeons.

text: At Harrenhal[edit]

text: Robb Stark and his forces arrive at Harrenhal, where they discover that Gregor Clegane has abandoned it and slaughtered all the prisoners. Lord Roose Bolton gives sympathy to a still-grieving Lord Rickard Karstark who expresses his frustration that Catelyn Stark let Jaime Lannister go. Bolton assures Karstark that Jaime will be found soon, as his best hunter is after them. Robb stumbles across a survivor among the dead, a man named Qyburn.

text: Across the Narrow Sea[edit]

text: With her dragons growing fast, Daenerys Targaryen has arrived at Astapor in Slaver's Bay and is considering buying an army of the renowned eunuch slave soldiers, the "Unsullied". She and Ser Jorah Mormont witness a brutal demonstration of their fortitude, but Daenerys is horrified to hear of the gruesome training they endure. Upon walking throughout a nearby market, a warlock masked as a young girl attempts to assassinate Daenerys with a scorpion-like creature. He is thwarted by a cloaked Ser Barristan Selmy, previous Kingsguard to Daenerys' father, who swears his allegiance to her.

text: Production[edit]

text: Writing[edit]

text: The episode was written by showrunners David Benioff and D. B. Weiss. It was based mainly on the first chapters of A Storm of Swords, the third novel in George R. R. Martin's A Song of Ice and Fire series. Specifically, it adapts material from chapters Samwell I, Jon I, Davos I, Davos II, Tyrion I, Daenerys I, Davos III, and Daenerys II from A Storm of Swords and chapter Daenerys V of A Clash of Kings.[3]

text: Some of the twists that open the third book were used in the previous season's finale (mainly Robb's marriage and the White Walkers attacking the Night's Watch). Conversely, Barristan Selmy saving Daenerys from the manticore was borrowed from her last chapter in the second book A Clash of Kings.[3]

text: Casting[edit]

text: "Valar Dohaeris" introduces the Irish actor Ciarán Hinds as the Wildling leader and Night's Watch deserter Mance Rayder, one of the latest Season 3 roles to be cast. The producers explained that casting Mance was a great challenge because he was someone who had become "King beyond the Wall" not by birthright but by convincing all the tribes to unite under his leadership. They had to find an actor with the charisma required to portray this.[4] Unusual for a production such as Game of Thrones, the first scene Hinds filmed was the first one where his character appears: the meeting with Jon Snow at his tent.[5]

text: The season premiere also marks the first appearance of guest stars Kristofer Hivju as the Wildling Tormund Giantsbane, Nathalie Emmanuel as the slave Missandei, and Anton Lesser as the wounded prisoner Qyburn. The three castings were announced at San Diego Comic-Con in July 2012.

text: With this episode, Rose Leslie (Ygritte) and Oona Chaplin (Talisa) are promoted to series regulars, after guest starring in the second season. After being absent for the entire second season, Ian McElhinney returns as Ser Barristan Selmy. Actor Ian Whyte, previously cast as a White Walker in the first season, was recast as the huge Ser Gregor Clegane in the second and appears in the episode as the giant seen in the wildlings camp.[citation needed]

text: Valyrian[edit]

text: David J. Peterson, who created the Dothraki language for the first season of the show, was entrusted by the producers to design a new constructed language to depict Valyrian, the tongue of the fallen Valyrian Empire. After immersing himself in the fictional background, Peterson ended devising two languages: High Valyrian, the oldest form that was spoken at the height of the Empire and that in its purest form still exists as a language of scholarship and refinement, and the Slaver's Bay variety of Low Valyrian, a creolized version that is spoken in local dialects around the Slaver's Bay. The relationship between the two languages would be similar to the one between Classical Latin and Vulgar Latin.

text: To translate sentences in Low Valyrian such as the ones spoken by Kraznys mo Nakloz and Missandei during the episode, Peterson would first write them into High Valyrian, and then apply a series of phonological, semantic and grammatical changes to the text.[6]

text: Filming locations[edit]

text: The production continued to use the Paint Hall studios in Belfast for most interior shoots. The scene of Daenerys at sea was filmed at the Linen Mill Film & Television Studios at Banbridge, using the same ship built for Theon's arrival in Pyke and used as Stannis' flagship in season 2.[7] The beach of Downhill Strand returned as the island of Dragonstone.

text: The old city of Dubrovnik was again used for the exterior shots of the capital, King's Landing. Tyrion and Bronn are seen walking on the famed city walls, and the scene where Lord Baelish visits Sansa at the docks was filmed in the old port between Fort Lovrijenac and the Pila Gates.[8]

text: Also repeating from last season, the scenes beyond the Wall were filmed in Iceland. The Wildling's camp was built in a new location, on a lava field in the Mývatn Lake region in the North, a few hours from the town of Akureyri. Building the camp took months of work from the art department and weeks of construction by the local crew. Although the scenes at the Icelandic exteriors were filmed at minus 11 degrees Celsius, the interior of Mance's tent was filmed on one of the soundstages at the Paint Hall. The fires burning inside the tent made the set very hot, and the actors suffered the heat wearing heavy furs designed for Arctic climates.[5][9][10]

text: To depict the slaver city of Astapor, the production used the Moroccan city of Essaouira. The Unsullied are introduced in the city ramparts of Skala de la Ville, the 18th-century sea bastion that runs along the northern cliffs, and during the closing scene when Barristan reveals himself, the Genoese-built citadel by the harbour can be clearly seen.

text: Dedication[edit]

text: The episode is dedicated to the memory of cinematographer Martin Kenzie, who had worked in the photography department and died of cancer while the third season was being filmed on July 16, 2012.

text: Reception[edit]

text: Ratings[edit]

text: "Valar Dohaeris"'s first airing was seen by 4.4 million viewers; the total rose to 6.7 million viewers once the two repeats of the night are taken into account. Both figures represented a viewership record for the show.[11] In the United Kingdom, the episode was seen by 1.173 million viewers on Sky Atlantic, being the channel's highest-rated broadcast that week.[12]

text: Critical reception[edit]

text: The episode received critical acclaim. Review aggregator Rotten Tomatoes surveyed 21 reviews of the episode and judged 100% of them to be positive with an average score of 7.5 out of 10. The website's critical consensus reads, "'Valar Dohaeris' overextends itself trying to reintroduce a multitude of characters and plotlines, but is strengthened by its brilliantly acted two-person scenes (and three growing baby dragons)."[13] In an advance review for The Daily Beast, Jace Lacob wrote that the season premiere lacks "energy and intensity, but provides a necessary foundation," and that the season, like the novel it is based on, "takes a little to get going."[14] Matt Fowler, writing for IGN, gave the episode an 8.6/10, writing that "while understandably not showing us everyone, Game of Thrones returned in fine form with dragons, zombies and giants."[15] Neela Dabnath of The Independent felt that "Valar Dohaeris" was a strong start to Season 3 and "deftly picked up the various story strands from the last season ... even if it was just a series of brief check-in." She also praised the show for taking "creative liberties which always pay off in bucket loads," commenting on how this can "add to Martin’s world and flesh it out in new ways."[16]

text: Forbes.com writer Erik Kain stated he felt "Valar Dohaeris" did "exactly what it needed to do," by bringing the viewers "back up to speed on the broader conflict and the various minor character conflicts and positioning for power. The ball hasn’t really been moved forward at all, but our feet are on sturdy ground to move forward." He did however express some disappointment over how some elements of the episode differed from its source material in regards to the reintroduction of the character Barristan Selmy and the apparent absence of the character Strong Belwas.[17] Reviewing the episode for The Guardian, Sarah Hughes felt that "Valar Dohaeris" "didn't really feel like a season opener," and that the opening scene was "a little disorientating." However she enjoyed the scenes in King's Landing and lauded Stephen Dillane's brief performance. Commenting on the Daenerys' plot, she felt her storyline was advancing quite quickly. She also felt that the Barristan Selmy reveal was handled well as; "there are certain conventions that work better on page than screen and the hidden identity trope is one of them. By getting the reveal out of the way early, Benioff and Weiss can concentrate on the potential rivalry between Barristan and Jorah."[18]

text: Accolades[edit]

text: The episode received two nominations at the 65th Primetime Emmy Awards for Outstanding Art Direction for a Single-Camera Series, Outstanding Prosthetic Makeup for a Series, Miniseries, Movie or a Special and won the Outstanding Special Visual Effects.

text: Awards and nominations[edit]

text:
Year
Award
Category
Nominee(s)
Result

2013
Primetime Creative Arts Emmy Awards
Outstanding Art Direction for a Single-Camera Series
Gemma Jackson, Frank Walsh, and Tina Jones
Nominated

Outstanding Prosthetic Makeup for a Series, Miniseries, Movie or a Special
Paul Engelen, Conor O'Sullivan, and Rob Trenton
Nominated

Outstanding Special Visual Effects
Doug Campbell, Rainer Gombos, Juri Stanossek, Sven Martin, Steve Kullback, Jan Fiedler, Chris Stenner, Tobias Mannewitz, Thilo Ewers, and Adam Chazen
Won

Hollywood Post Alliance Awards
Outstanding Visual Effects – Television
Joe Bauer and Jabbar Raisani, Jörn Grosshans and Sven Martin, and Doug Campbell
Won

2014
ADG Excellence in Production Design Award
One-Hour Single Camera Television Series
Gemma Jackson
Won

American Society of Cinematographers
One-Hour Episodic Television Series
Jonathan Freeman
Won

Visual Effects Society
Outstanding Visual Effects in a Broadcast Program
Steve Kullback, Joe Bauer, Jörn Großhans, Sven Martin
Won


document_title: The Emoji Movie

question_text: who plays the hacker in the emoji movie

question_tokens: who plays the hacker in the emoji movie

root

text: The Emoji Movie

text: Plot

text: Gene is an emoji that lives in Textopolis, a digital city inside the phone of his user Alex. He is the son of two meh emojis named Mel and Mary, and is able to make multiple expressions despite his parents' upbringing. His parents are hesitant of him going to work, but Gene insists so that he can feel useful. Upon receiving a text from his crush Addie, Alex decides to send her an emoji. When Gene is selected, he panics, makes a panicked expression, and wrecks the text center. Gene is called in by Smiler, a smiley emoji and leader of the text center, who concludes that Gene is a "malfunction" and therefore must be deleted. Gene is chased by bots, but is rescued by Hi-5, a once popular emoji who has since lost his fame due to lack of use. He tells Gene that he can be fixed if they find a hacker, and Hi-5 accompanies him so that he can reclaim his fame.

tag: p

text: Smiler sends more bots to look for Gene when she finds out that he has left Textopolis, as his actions have caused Alex to think that his phone needs to be fixed. Gene and Hi-5 come to a piracy app where they meet a hacker emoji named Jailbreak, who wants to reach Dropbox so that she can live in the cloud. The trio is attacked by Smiler's bots, but manage to escape into the game Candy Crush. Jailbreak reveals that Gene can be fixed in the cloud, and the group goes off into the Just Dance app. While there, Jailbreak is revealed to be a princess emoji who fled home after tiring of being stereotyped. They are once again attacked by bots, and their actions cause Alex to delete the Just Dance app. Gene and Jailbreak escape, but Hi-5 is taken along with the app and ends up in the trash.

text: Mel and Mary go searching for Gene and have a very lethargic argument. They make up in the Instagram app when Mel reveals that he, too, is a malfunction, explaining Gene's behavior. While traveling through Spotify, Jailbreak admits that she likes Gene just the way he is, and that he should not be ashamed of his malfunction. They make it to the trash and rescue Hi-5, but are soon attacked by a bot upgraded with illegal malware. They evade it by entangling it's arms and enter Dropbox, where they encounter a firewall. After many tries, the gang get past it with a password being Addie's name and make it to the cloud, where Jailbreak prepares to reprogram Gene. Gene admits his feelings for Jailbreak, but she wishes to stick to her plan of venturing into the cloud, unintentionally causing Gene to revert to his apathetic programming out of heartbreak. The upgraded bot takes Gene, and Hi-5 and Jailbreak race after them on a Twitter bird summoned by Jailbreak in her princess form.

text: As Smiler prepares to delete Gene, Mel and Mary arrive. Mel reveals to everyone that he is also a malfunction, prompting Smiler to threaten deleting him as well. Jailbreak and Hi-5 arrive and disable the bot, which falls on top of Smiler. Alex has since taken his phone to the store and asks to have his phone erased to fix the problem. Out of desperation, Gene prepares to have himself texted to Addie, making numerous faces to express himself. Realizing that Addie received a text from him, Alex stops his phone from getting erased, saving the emoji and finally getting to speak with Addie, who likes the emoji Alex sent. Gene accepts himself for who he is and is celebrated by all of the emojis.

text: In a mid-credits scene, Smiler has been relegated to the "loser lounge" with the other unused and forgotten emojis for her crimes, wearing numerous braces due to her teeth being cracked by the bot, and playing and losing a game of Go Fish.

text: Voice cast

text:
T.J. Miller as Gene Meh, an outsider "meh" emoji who can show multiple expressions[4][11]
James Corden as Hi-5, a hand emoji representing a high five signal[6][5][12]
Anna Faris as Jailbreak, a hacker emoji who is later revealed to be a princess emoji named Linda[12]
Maya Rudolph as Smiler, a smiley emoji. As the original emoji, she is the systems supervisor of the text center.[13]
Steven Wright as Mel Meh, Gene's emoji father who is later revealed to have the same condition as his son[4]
Jennifer Coolidge as Mary Meh, Gene's emoji mother[13]
Patrick Stewart as Poop, a poop emoji[5][14]
Christina Aguilera as Akiko Glitter, a "super cool" dancer that lives inside the Just Dance app[15]
Sofía Vergara as Flamenca, a flamenco dancer emoji[16]
Sean Hayes as Steven, a devil emoji[17]
Rachael Ray as Spam, a spam message[18]
Jeff Ross as an Internet troll[19]
Jake T. Austin as Alex, a human teenager who owns the phone where Gene and his emoji friends live[13]
Tati Gabrielle as Addie McCallister, Alex's crush[20]
Rob Riggle as an ice cream emoji[4][21]
Conrad Vernon as a Trojan Horse

tag: ul

text: Production

text: The film was inspired by director Tony Leondis' love of Toy Story.[22] Wanting to make a new take on the concept, he began asking himself, "What is the new toy out there that hasn't been explored?" At the same time, Leondis received a text message with an emoji, which helped him realize that this was the world he wanted to explore.[22] In fleshing out the story, Leondis considered having the emojis visit the real world. However, his producer felt that the world inside a phone was much more interesting, which inspired Leondis to create the story of where and how the emojis lived.[22] As Leondis is gay, he connected to Gene's plight of "being different in a world that expects you to be one thing," and in eventually realizing that the feeling held true for most people, Leondis has said the film "was very personal".[22] The movie was fast tracked into production  as there were concerns that the movie would become outdated otherwise.[23]

text: In July 2015, it was announced that Sony Pictures Animation had won the bidding war against Warner Bros. and Paramount Pictures over production rights to make the film,[24] with the official announcement occurring at the 2016 CinemaCon.[25] Singer Ricky Reed recorded an original song, "Good Vibrations", for the film.[26][27]

text: Casting

text: On World Emoji Day on July 17, 2016, Miller was announced as the lead.[11] Leondis created the part with Miller in mind, although the actor was initially hesitant to play the role, only accepting after Leondis briefed him on the story.[28] Leondis chose Miller because "when you think of irrepressible, you think of TJ. But he also has this surprising ability to break your heart".[28] in addition Miller also contributed some re-writes.[29] In October 2016, it was announced that Ilana Glazer and Corden would join the cast as well.[6] Glazer was later replaced by Anna Faris.[12] According to Jordan Peele, he was initially offered the role of "Poop", which he would go on to state led to his decision to retire from acting.[30] The part would ultimately go to Patrick Stewart.

text: Release

text: In November 2015, Sony scheduled the film to be released on August 11, 2017.[31] A year later, it was moved to August 4, 2017, with Baby Driver initially taking its previous date.[32] In late March 2017, the film was moved one week earlier, to July 28, 2017, switching places with Sony Pictures' The Dark Tower.[33]

text: On December 20, 2016, a teaser trailer for the film was released.[4] A second trailer was later released on May 16, 2017.[34][35] Sony promoted the release of the latter trailer by hosting a press conference in Cannes, the day before the 2017 Cannes Film Festival, which featured T. J. Miller parasailing in.[36] Variety called the event "slightly awkward",[37] and The Hollywood Reporter described it as "promotional ridiculousness".[36]

text: The film's theatrical release is preceded by Puppy!, a Hotel Transylvania short directed by Genndy Tartakovsky.[38][39]

text: Controversy

text: Days prior the film's release, Sony Pictures was criticized after the film's official Twitter account posted a promotional picture of a parody of The Handmaid's Tale, featuring Smiler. The parody was considered to be "tasteless" due to the overall themes of the work, and the image was deleted afterward.[40][41]

text: Video game

text: The film's release was also preceded by a tie-in mobile game, titled POP FRENZY!  The Emoji Movie Game, a free-to-play bubble shooter game that was released on iOS and Android, with optional in app purchases.[42][43]

text: Home media

text: The Emoji Movie was released on Blu-ray and DVD on October 24, 2017, by Sony Pictures Home Entertainment.[44]

text: Reception

text: Box office

text: The Emoji Movie has grossed $86.1 million in the United States and Canada and $131.7 million in other territories, for a worldwide total of $217.8 million, against a production budget of $50 million.[3]

text: The Emoji Movie was released alongside Atomic Blonde, and was projected to gross around $20 million from 4,075 theaters in its opening weekend.[45] The film made $900,000 from Thursday night previews and $10.1 million on its first day.[46] It went on to debut to $24.5 million, finishing second at the box office behind Dunkirk.[47] It held the record for the worst opening for a film in over 4,000 theaters, until it was surpassed two weeks later by The Nut Job 2: Nutty by Nature, which had an opening of $8.3 million from 4,003 theaters.[48] In the film's second weekend, it dropped by nearly 50%, grossing $12.4 million and finishing in 3rd (behind The Dark Tower and Dunkirk).[49]

text: Review embargoes for the film were lifted midday July 27, only a few hours before the film premiered to the general public, in a move considered among one of several tactics studios are using to try to curb bad Rotten Tomatoes ratings.[50] Speaking of the effect embargoing reviews until last minute had on the film's debut, Josh Greenstein, Sony Pictures president of worldwide marketing and distribution, said, "The Emoji Movie was built for people under 18 ... so we wanted to give the movie its best chance. What other wide release with a score under 8 percent has opened north of $20 million? I don't think there is one."[50]

text: Critical response

text: Critics panned The Emoji Movie, calling it "unfunny and a waste of time".[51][52][53] Several major outlets, including BBC News, called The Emoji Movie one of the worst movies of 2017.[54] On review aggregator website Rotten Tomatoes, the film holds an approval rating of 8% based on 108 reviews, with an average rating of 2.7/10. The site's critical consensus displayed a no symbol emoji ("🚫") in place of text.[55] On Metacritic, which assigns a normalized rating to reviews, the film has a weighted average score of 12 out of 100, based on 26 critics, indicating "overwhelming dislike".[56] Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.[47]

text: David Ehrlich of IndieWire gave the film a D, writing: "Make no mistake, The Emoji Movie is very, very, very bad (we're talking about a hyperactive piece of corporate propaganda in which Spotify saves the world and Sir Patrick Stewart voices a living turd), but real life is just too hard to compete with right now."[57] Alonso Duralde of TheWrap was also critical of the film, calling it "a soul-crushing disaster because it lacks humor, wit, ideas, visual style, compelling performances, a point of view or any other distinguishing characteristic that would make it anything but a complete waste of your time".[20]

text: Glen Kenny of The New York Times described the film as "nakedly idiotic", stating that the film plays off a Hollywood idea that the "panderingly, trendily idiotic can be made to seem less so".[58] Owen Gleiberman of Variety lambasted the film as "hectic situational overkill" and "lazy" while viciously criticizing the film, writing: "There have been worse ideas, but in this case the execution isn't good enough to bring the notion of an emoji movie to funky, surprising life."[19] Writing in The Guardian, Charles Bramesco called the film "insidious evil" and wrote that it was little more than an exercise in advertising smartphone downloads to children.[59] Writing for the Hindustan Times, Aditya Dogra acknowledged that viewers had noticed the similarities of The Emoji Movie to Inside Out, The Lego Movie, and Wreck-It Ralph.[60]

text: Accolades

text:
Year
Award
Category
Nominee(s)
Result

2018
Black Reel Awards
Outstanding Voice Performance
Maya Rudolph
Nominated

Golden Raspberry Awards
Worst Picture
Michelle Raimo Kouyate
Won

Worst Director
Tony Leondis
Won

Worst Screen Combo
Any two obnoxious emojis
Won

Worst Screenplay
Tony Leondis, Eric Siegel and Mike White
Won

The Razzie Nominee So Rotten You Loved It
The Emoji Movie
Nominated

Movieguide Awards
10 Best Family Movies of 2017
Columbia Pictures/Sony Pictures Entertainment
Nominated

Kids' Choice Awards
Favorite Animated Film
The Emoji Movie
Nominated

tag: table


document_title: Auditory cortex

question_text: where is auditory information processed in the thalamus

text: Auditory cortex

text: Structure[edit]

text: The auditory cortex was previously subdivided into primary (A1) and secondary (A2) projection areas and further association areas. The modern divisions of the auditory cortex are the core (which includes A1), the belt, and the parabelt. The belt is the area immediately surrounding the core; the parabelt is adjacent to the lateral side of the belt.[5]

text: Besides receiving input from the ears via lower parts of the auditory system, it also transmits signals back to these areas and is interconnected with other parts of the cerebral cortex.

text: Data about the auditory cortex has been obtained through studies in rodents, cats, macaques, and other animals. In humans, the structure and function of the auditory cortex has been studied using functional magnetic resonance imaging (fMRI), electroencephalography (EEG), and electrocorticography.[6][7]

text: Development[edit]

text: Like many areas in the neocortex, the functional properties of the adult primary auditory cortex (A1) are highly dependent on the sounds encountered early in life. This has been best studied using animal models, especially cats and rats. In the rat, exposure to a single frequency during postnatal day (P) 11 to 13 can cause a 2-fold expansion in the representation of that frequency in A1.[8] Importantly, the change is persistent, in that it lasts throughout the animal's life, and specific, in that the same exposure outside of that period causes no lasting change in the tonotopy of A1.

text: Function[edit]

text: As with other primary sensory cortical areas, auditory sensations reach perception only if received and processed by a cortical area. Evidence for this comes from lesion studies in human patients who have sustained damage to cortical areas through tumors or strokes,[9] or from animal experiments in which cortical areas were deactivated by surgical lesions or other methods.[10] Damage to the Primary Auditory Cortex in humans leads to a loss of any awareness of sound, but an ability to react reflexively to sounds remains as there is a great deal of subcortical processing in the auditory brainstem and midbrain.[11][12][13]

text: Neurons in the auditory cortex are organized according to the frequency of sound to which they respond best. Neurons at one end of the auditory cortex respond best to low frequencies; neurons at the other respond best to high frequencies. There are multiple auditory areas (much like the multiple areas in the visual cortex), which can be distinguished anatomically and on the basis that they contain a complete "frequency map." The purpose of this frequency map (known as a tonotopic map) is unknown, and is likely to reflect the fact that the cochlea is arranged according to sound frequency. The auditory cortex is involved in tasks such as identifying and segregating auditory "objects" and identifying the location of a sound in space.

text: Human brain scans have indicated that a peripheral bit of this brain region is active when trying to identify musical pitch. Individual cells consistently get excited by sounds at specific frequencies, or multiples of that frequency.

text: The auditory cortex plays an important yet ambiguous role in hearing. When the auditory information passes into the cortex, the specifics of what exactly takes place are unclear. There is a large degree of individual variation in the auditory cortex, as noted by biologist James Beament, who wrote, “The cortex is so complex that the most we may ever hope for is to understand it in principle, since the evidence we already have suggests that no two cortices work in precisely the same way."[14]

text: In the hearing process, multiple sounds are transduced simultaneously. The role of the auditory system is to decide which components form the sound link. Many have surmised that this linkage is based on the location of sounds. However, there are numerous distortions of sound when reflected off different media, which makes this thinking unlikely[citation needed]. The auditory cortex forms groupings based on fundamentals; in music, for example, this would include harmony, timing, and pitch.[15]

text: The primary auditory cortex lies in the superior temporal gyrus of the temporal lobe and extends into the lateral sulcus and the transverse temporal gyri (also called Heschl's gyri). Final sound processing is then performed by the parietal and frontal lobes of the human cerebral cortex. Animal studies indicate that auditory fields of the cerebral cortex receive ascending input from the auditory thalamus, and that they are interconnected on the same and on the opposite cerebral hemispheres.

text: The auditory cortex is composed of fields which differ from each other in both structure and function.[16] The number of fields varies in different species, from as few as 2 in rodents to as many as 15 in the rhesus monkey. The number, location, and organization of fields in the human auditory cortex are not known at this time. What is known about the human auditory cortex comes from a base of knowledge gained from studies in mammals, including primates, used to interpret electrophysiological tests and functional imaging studies of the brain in humans.

text: When each instrument of a symphony orchestra or the jazz band plays the same note, the quality of each sound is different — but the musician perceives each note as having the same pitch. The neurons of the auditory cortex of the brain are able to respond to pitch. Studies in the marmoset monkey have shown that pitch-selective neurons are located in a cortical region near the anterolateral border of the primary auditory cortex. This location of a pitch-selective area has also been identified in recent functional imaging studies in humans.[17][18]

text: The primary auditory cortex is subject to modulation by numerous neurotransmitters, including norepinephrine, which has been shown to decrease cellular excitability in all layers of the temporal cortex. alpha-1 adrenergic receptor activation, by norepinephrine, decreases glutamatergic excitatory postsynaptic potentials at AMPA receptors.[19]

text: Relationship to the auditory system[edit]

text: The auditory cortex is the most highly organized processing unit of sound in the brain. This cortex area is the neural crux of hearing, and—in humans—language and music. The auditory cortex is divided into three separate parts: the primary, secondary, and tertiary auditory cortex. These structures are formed concentrically around one another, with the primary cortex in the middle and the tertiary cortex on the outside.

text: The primary auditory cortex is tonotopically organized, which means that neighboring cells in the cortex respond to neighboring frequencies.[20] Tonotopic mapping is preserved throughout most of the audition circuit. The primary auditory cortex receives direct input from the medial geniculate nucleus of the thalamus and thus is thought to identify the fundamental elements of music, such as pitch and loudness.

text: An evoked response study of congenitally deaf kittens by Klinke et al. utilized local field potentials to measure cortical plasticity in the auditory cortex. These kittens were stimulated and measured against a control (an un-stimulated congenitally deaf cat (CDC)) and normal hearing cats. The field potentials measured for artificially stimulated CDC were eventually much stronger than that of a normal hearing cat.[21] This finding accords with a study by Eckart Altenmuller’s, in which it was observed that students who received musical instruction had greater cortical activation than those who did not.[22]

text: The auditory cortex has distinct responses to sounds in the gamma band. When subjects are exposed to three or four cycles of a 40 hertz click, an abnormal spike appears in the EEG data, which is not present for other stimuli. The spike in neuronal activity correlating to this frequency is not restrained to the tonotopic organization of the auditory cortex. It has been theorized that gamma frequencies are resonant frequencies of certain areas of the brain, and appear to affect the visual cortex as well.[23] Gamma band activation (25 to 100 Hz) has been shown to be present during the perception of sensory events and the process of recognition. In a 2000 study by Kneif and colleagues, subjects were presented with eight musical notes to well-known tunes, such as Yankee Doodle and Frère Jacques. Randomly, the sixth and seventh notes were omitted and an electroencephalogram, as well as a magnetoencephalogram were each employed to measure the neural results. Specifically, the presence of gamma waves, induced by the auditory task at hand, were measured from the temples of the subjects. The OSP response, or omitted stimulus response, was located in a slightly different position; 7 mm more anterior, 13 mm more medial and 13 mm more superior in respect to the complete sets. The OSP recordings were also characteristically lower in gamma waves, as compared to the complete musical set. The evoked responses during the sixth and seventh omitted notes are assumed to be imagined, and were characteristically different, especially in the right hemisphere.[24] The right auditory cortex has long been shown to be more sensitive to tonality, while the left auditory cortex has been shown to be more sensitive to minute sequential differences in sound, such as in speech.

text: Tonality is represented in more places than just the auditory cortex; one other specific area is the rostromedial prefrontal cortex (RMPFC).[25] Janata et al., in their 2002 study, explored the areas of the brain which were active during tonality processing, by means of the fMRI technique. The results of this experiment showed preferential blood-oxygen-level dependent activation of specific voxels in RMPFC for specific tonal arrangements. Though these collections of voxels do not represent the same tonal arrangements between subjects or within subjects over multiple trials, it is interesting and informative that RMPFC, an area not usually associated with audition, seems to code for immediate tonal arrangements in this respect. RMPFC is a subsection of the medial prefrontal cortex, which projects to many diverse areas including the amygdala, and is thought to aid in the inhibition of negative emotion.[26]


document_title: King Arthur: Legend of the Sword

question_text: who plays arthur in legend of the sword

question_tokens: who plays arthur in legend of the sword

text: King Arthur: Legend of the Sword

text: Plot[edit]

text: Mordred, an iron-fisted warlock, and his armies lay siege to Camelot, seeking to establish the dominance of magic-wielding mages over humankind. Uther Pendragon, king of the Britons, infiltrates Mordred's lair and beheads him, saving Camelot. Uther's treacherous younger brother Vortigern, who covets the throne, orchestrates a coup and sacrifices his wife Elsa to moat hags to become a demon knight, who kills Uther's wife Igraine and slays Uther in combat. The only survivor is Uther's son Arthur, who drifts away in a boat and ends up in Londinium, where he is found and raised by prostitutes.

text: Arthur grows into a skilled fighter and man of the streets. Arthur and his friends confront a group of Vikings who had mistreated one of the prostitutes, forcing him to pay her restitution. Afterwards, the brothel is raided by the Blacklegs, Vortigern's minions, and Arthur learns that the Vikings were under the king's protection. Arthur tries to escape the city but is caught and put on a ship with hundreds of other men; the Blacklegs have been forcing all men of Arthur's age to try to pull a sword that has appeared near the castle from the surrounding stone. Arthur is able to remove the sword but is quickly overwhelmed by its power and passes out. Vortigern meets with him in the dungeon, revealing his true lineage.

text: Meanwhile, a mage identifying herself as an acolyte of Merlin presents herself to Uther's former general, Sir Bedivere. At Arthur's planned execution, the mage uses her magic to stage a diversion while Bedivere's men rescue Arthur. Taken to Bedivere's hideout, Arthur initially refuses to help them. The mage persuades Bedivere to take Arthur to a realm called the "Darklands," where he's given a vision of how Uther sacrificed himself to save Arthur and entomb the sword in stone. Arthur learns Vortigern was responsible for persuading Mordred to rebel against humanity, and he returns determined to destroy Vortigern.

text: With his friends and Bedivere's men, Arthur stages a series of ambushes against Vortigern, culminating in an assassination attempt in Londinium. The rebels sense a trap but attack anyway, fleeing to a fighters' school run by Arthur's mentor George, where they are overrun by the Blacklegs. Seeing the mage held at knifepoint, Arthur unleashes Excalibur's potential, single-handedly killing all of the soldiers and allowing most of the rebels to escape the city.

text: Ashamed of his failures, Arthur tries to throw away the sword, but the Lady of the Lake returns it and shows him a vision of England's future under Vortigern's rule. Coming to terms with his responsibility, Arthur reunites with Bedivere. When they return to the rebel hideout, however, they discover all of their allies dead, Vortigern having found them and delivered an ultimatum: if Arthur does not surrender himself, the captured mage will die. Arthur surrenders himself, but as Vortigern is about to execute his nephew, a giant snake summoned by the mage attacks and devours Vortigern's men. While Bedivere and the others lead an attack on the castle, a desperate Vortigern sacrifices his only daughter and is transformed into the demon knight, confronting Arthur in a separate dimension. Despite his fighting skill, Arthur is beaten, and he is about to submit when he witnesses a vision of his father, convincing him to accept the sword and his character as his own. Arthur violently slays Vortigern but blesses him as he dies.

text: In the aftermath, Arthur dissolves Vortigern's pact with the Vikings and begins building a Round Table where his knighted friends will meet. Blue and the prostitutes arrive with the crown of Uther, which Arthur accepts, holding the sword aloft.

text: Cast[edit]

text:
Charlie Hunnam as King Arthur, Uther's son, Vortigern's nephew and the would-be king of Britain who was raised by sex workers.
Jude Law as Vortigern, Uther's brother, Elsa's husband, Catia's father, Arthur's uncle and the tyrannical ruthless king of Britain.
Àstrid Bergès-Frisbey as the Mage, a woman working for Merlin who supports Arthur and the resistance.
Djimon Hounsou as Sir Bedivere, the leader of the resistance and a former knight of Uther.
Aidan Gillen as Goosefat Bill Wilson, a skilled archer, Bedivere's friend, former knight of Uther and member of the resistance.
Eric Bana as Uther Pendragon, Vortigern's brother, Arthur's father and the king of Britain.
Kingsley Ben-Adir as Sir Tristan "Wet Stick", Arthur and Back Lack's childhood friend who is later knighted by Bedivere.
Craig McGinlay as Sir Percival, a member of the resistance who is later knighted by Bedivere.
Tom Wu as Sir George, Arthur's mentor and a skilled fighter who helps the resistance and is later knighted by Bedivere.
Neil Maskell as Back Lack, Arthur and Tristan's childhood friend and Blue's father, who helps the resistance.
Annabelle Wallis as Maggie, Vortigern's maid who helps the resistance.
Katie McGrath as Elsa, Vortigern's wife.
Freddie Fox as Rubio, a member of the resistance who later betrays them under torture and helps Vortigern.
Bleu Landau as Blue, Back Lack's son.
Mikael Persbrandt as Greybeard, a viking who has deals with Vortigern.
Poppy Delevingne as Igraine, Arthur's mother and Uther's wife.
Jacqui Ainsley as Lady of the Lake
Rob Knighton as Mordred
Millie Brady as Catia, Vortigern's daughter.
Lorraine Bruce, Eline Powell and Hermione Corfield as the three Syrens.
Michael McElhatton as Jack's Eye, Arthur's scout on the kingdom.
David Beckham as Trigger, a smart-mouthed and scarred soldier of King Vortigern
Kamil Lemieszewski as Merlin, transformed into an eagle

text: Production[edit]

text: This section needs expansion. You can help by adding to it. (March 2018)

text: After 2004's King Arthur, Warner Bros. made multiple attempts to make a new film based on Arthurian legend: one was a remake of Excalibur, helmed by Bryan Singer, while the other was a film titled Arthur & Lancelot, which would have starred Kit Harington and Joel Kinnaman in the title roles respectively.[10] Warner Bros. worried that neither names were big enough, and attempted to replace both actors with more profitable ones, before eventually dropping the project altogether.[10]

text: Warner's next attempt to create a new King Arthur film was an attempt to create an Arthurian cinematic universe which would span six films, following different characters before their eventual team up.[10] For this endeavour they hired director Guy Ritchie, who has himself attempted to make a King Arthur movie prior to that. According to The Guardian, the script soon became "a strange Frankenstein's Monster-style screenplay" incorporating elements from several of the unproduced Arthurian scripts.[10]

text: Casting[edit]

text: In August 2014, Charlie Hunnam, Ritchie's choice for the role, was cast to play King Arthur.[11] Elizabeth Olsen was in talks for the female lead,[12] but on 18 September, Àstrid Bergès-Frisbey landed the role instead.[13] On 14 November, Jude Law was in talks to play the lead villain role in the film.[14] On 11 February 2015, Eric Bana was added to the cast to play Uther, the father of King Arthur.[15] Mikael Persbrandt joined the film on 6 March 2015, to play a villainous role.[16] Although there were reports Idris Elba had been cast, he would confirm, in a Reddit AMA, this was a rumour.[17][18]

text: Filming[edit]

text: Filming in Windsor Great Park was underway in February 2015,[19] then later in North Wales from 2 March 2015.[20] Later on 10 March 2015, Ritchie tweeted a photo and confirmed the first day of shooting.[citation needed] In April 2015, filming took place in Snowdonia, where locations used were Tryfan, Nant Gwynant near Beddgelert and Capel Curig.[21] Early in July filming continued in the Shieldaig, Loch Torridon and Applecross areas of Wester Ross in the Scottish Highlands.[citation needed] One day of filming also took place at The Quiraing on the Isle of Skye. Filming also took place at Warner Bros. Studios, Leavesden.[citation needed]

text: Release[edit]

text: In April 2014, Warner Bros. set the film for a 22 July 2016 release, alongside Lights Out, but it was then moved by Warner Bros. to 17 February 2017, alongside Maze Runner: The Death Cure.[22] Warner Bros. moved the release date to 24 March 2017.[23] The title was changed to King Arthur: Legend of the Sword in July 2016.[24] In December 2016 the release date was again moved, this time to 12 May 2017, possibly so as not to compete with CHiPs.[25][26]

text: Promotion[edit]

text: The trailer was released on 23 July 2016, during the 2016 San Diego Comic-Con and was attached to screenings of Mechanic: Resurrection, Don't Breathe, Shut In and Fantastic Beasts and Where to Find Them.

text: It was originally planned for an IMAX release on 22 July 2016, as evident in the Comic-Con trailer,[27] but was cancelled due to it being postponed and only received non-IMAX presentations.[citation needed] The first extended TV spot was released on 22 January 2017, and was shown on the 2017 NFC Championship Game on Fox Broadcasting Company between the Atlanta Falcons and the Green Bay Packers and the 2017 AFC Championship Game on CBS between the Pittsburgh Steelers and the New England Patriots.[citation needed]

text: A second trailer was released on 20 February 2017 and was attached to Logan, Kong: Skull Island, Power Rangers and Ghost in the Shell. The third and final trailer was released on 1 April 2017 and was attached to The Fate of the Furious, The Lost City of Z (which also starred Hunnam) and Free Fire. All in all, Warner Bros. spent $135 million on marketing the film.[7]

text: The film was shown at select AMC Theatres in a special preview on 27 April 2017, in a promotional event titled "King for a Day." Demand for tickets led AMC to expand the event to 200 theatres.[28]

text: Home media[edit]

text: King Arthur: Legend of the Sword was released on DVD, Blu-ray, 3D Blu-ray and Ultra HD on 8 August 2017.[29]

text: Reception[edit]

text: Box office[edit]

text: King Arthur: Legend of the Sword grossed $39.2 million in the United States and Canada and $107 million in other territories for a worldwide total of $146.2 million, against a production budget of $175 million.[5] Deadline Hollywood calculated the film lost the studio $153.2 million, when factoring together all expenses and revenues.[30]

text: In North America, the film was released alongside Snatched and was initially projected to gross around $25 million from 3,702 theatres during its opening weekend.[4] It made $1.15 million from Thursday night previews at about 3,200 theatres, but after making just $5.3 million on Friday, weekend projections were lowered to $15 million.[31] It ended up debuting to $15.4 million, finishing third at the box office. Deadline Hollywood noted that due to the film's $175 million production budget, as well as at least an additional $100 million spent on marketing, the film was destined to be a box office bomb.[32] Regarding the cost of the film, the site quoted one finance expert as saying: "Make original IP [intellectual property] for a cost effective price. If it works then spend more if necessary on the sequel. King Arthur should have been done for $60–80 [million]. Warner Bros. had no reason to spend $175M-plus on this picture."[7] Comparing its opening to cost, IndieWire called the film's failings "historic".[33] The Hollywood Reporter noted that the film would likely lose about $150 million.[8] In its second weekend the film grossed $7.2 million (a drop of 53.5%), finishing 5th at the box office.[34]

text: The film debuted at No. 1 in an estimated 29 countries, including Russia, with openings to follow in the United Kingdom, France, South Korea and Australia.[35] Over its opening weekend, it made only $29.1 million worldwide, in 51 non-American countries.[36]

text: Critical response[edit]

text: On review aggregator website Rotten Tomatoes, the film has an approval rating of 30% based on 232 reviews and an average rating of 4.7/10. The site's critical consensus reads, "King Arthur: Legend of the Sword piles mounds of modern action flash on an age-old tale – and wipes out much of what made it a classic story in the first place."[37] On Metacritic, which assigns a normalised rating, the film has a score 41 out of 100 based 45 critics, indicating "mixed or average reviews".[38] Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale, while PostTrak reporter filmgoers gave it an overall positive score of 78%; 56% of the opening weekend filmgoers were under the age of 35, and 59% were men.[7]

text: Writing for The Guardian, Peter Bradshaw gave the film a generally positive review: "Guy Ritchie’s cheerfully ridiculous Arthur is a gonzo monarch, a death-metal warrior-king. Ritchie’s film is at all times over the top, crashing around its digital landscapes in all manner of beserkness, sometimes whooshing along, sometimes stuck in the odd narrative doldrum. But it is often surprisingly entertaining, and whatever clunkers he has delivered in the past, Ritchie again shows that a film-maker of his craft and energy commands attention, and part of his confidence in reviving King Arthur resides here in being so unselfconscious and unconcerned about the student canon that has gone before."[39]

text: In a pan of the film for the Chicago Tribune, Michael Phillips questioned the long-term longevity of the projected series of six Arthur films from Ritchie: "I'm no businessman, but plans for a six-film franchise may be optimistic. Optimism is nowhere to be found in Ritchie's movie itself. It is a grim and stupid thing, from one of the world's most successful mediocre filmmakers, and if Shakespeare's King Lear were blogging today, he'd supply the blurb quote: 'Nothing will come of nothing.'."[40] Matt Zoller Seitz of RogerEbert.com gave the film one-and-a-half out of four stars, stating that despite the potential for a revisionist King Arthur story with "[t]he Ritchie sense of style", the overall problem is the film's lack of modulation: "Ritchie keeps rushing us along for two hours, as if to make absolutely certain that we never have time to absorb any character or moment, much less revel in the glorious, cheeky ridiculousness of the whole thing."[41]

text: Alissa Wilkinson of Vox writes that the film is "surprisingly good, and surprisingly political" in relation to the British withdrawal from the European Union, and "occasionally, it's even pretty great".[42] Chris Hartwell of The Hollywood Reporter expressed disappointment in the film's lackluster box office performance denying a sequel for the introduction of Merlin, stating it would have been more successful as a solo film instead of setting up a franchise.[43]