document_title: The Fresh Prince of Bel-Air (season 6)

question_text: what happened at the end of fresh prince

text: The Fresh Prince of Bel-Air (season 6)

text:
The Fresh Prince of Bel-Air (season 6)

DVD cover

Country of origin
United States

No. of episodes
24

Release

Original network
NBC

Original release
September 18, 1995 (1995-09-18) – May 20, 1996 (1996-05-20)

Season chronology

← Previous
Season 5

List of The Fresh Prince of Bel-Air episodes

text: The sixth and final season of The Fresh Prince of Bel-Air premiered on September 18, 1995, and aired its final episodes on May 20, 1996. In the series finale, the main characters all move out of the Banks Mansion to move on with their lives. Hilary's talk show moves to New York City; Ashley moves to New York with Hilary; Carlton transfers to Princeton University; Geoffrey moves back to England to be with his son; Philip, Vivian and Nicky move to New York to be closer to the rest of the family; and Will remains in California to finish his college studies. Will Smith, James Avery, Alfonso Ribeiro, Tatyana Ali, and Joseph Marcell appear in all episodes. Karyn Parsons was absent for one episode (ep. 4). Daphne Maxwell Reid was absent for five episodes and Ross Bagley was absent for eight episodes. DJ Jazzy Jeff appears in five episodes this season.[not verified in body]

text: Episodes[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Production
code

125
1
"Burnin' Down the House"
Madeline Cripe
Joel Madison & Adam Markowitz
September 18, 1995 (1995-09-18)
60101

Philip becomes nervous when he invites his boss to dinner. He informs the family that everything should be perfect, if he has a chance of earning a promotion. However, his plans go out of the window when Will burns down the kitchen, attempting to cook Flambe. Will enlists the help of Geoffrey to disguise the accident so that Philip and his boss do not find out.

126
2
"Get a Job"
Shelley Jensen
Mort Scrivner
September 25, 1995 (1995-09-25)
60102

Hillary's talk show is looking for an assistant talent coordinator. Will and Carlton fight over who gets the job but Will ends up getting it. He gets excited when a famous comedian, Maurice (Chris Rock) visits their mansion to discuss doing Hilary's show. He gets more excited when he is told to take Maurice's sister out. If the sister is happy, Maurice would do the show. Will rubs the good news in Carlton's face and jumps for joy. But Will ends up getting the bad bone when he sees what Maurice's sister really looks like.

127
3
"Stress Related"
Shelley Jensen
Larry Wilmore
October 2, 1995 (1995-10-02)
60103

Hilary becomes excited when she receives interest from a new sponsor for her prime-time talk show. However, on his date of arrival, Hilary is struck down with a serious case of the flu. When Will gives her medicine, Hillary overdoses and becomes loopy and crazy. It's up to Will to get Hilary back to normal and succeed with the sponsor, Mr. Stimple. Meanwhile, Carlton awaits a phone call from the bank, who he believes will hire him.

128
4
"Bourgie Sings the Blues"
Shelley Jensen
Tom Devanney
October 9, 1995 (1995-10-09)
60104

Carlton is worried about his interview with a Princeton University representative. In an attempt to clear his mind, Carlton flees to a blues bar, where Pappy (B.B. King) is playing, and confesses to Will that he no longer wants to attend Princeton and instead wants to live out in the bar. Will is convinced he is talking nonsense, so to secure Carlton his place at Princeton, he poses as him for the interview.

129
5
"The Script Formerly Known As…"
Shelley Jensen
Felicia D. Henderson
October 16, 1995 (1995-10-16)
60105

Philip hits the headlines when two jurors from his "Showbiz Madam" trial are dismissed, with no reasons given. Upon his search for new guests on Hilary's show, Will encounters one of the jurors George Howlings (George Wallace) – and invites him on as the next guest.[1] When he reveals his opinions about Philip and the court case live on air, Will and Hilary are left to face the consequences.

130
6
"Not, I Barbecue"
Madeline Cripe
Kandace Yvette Williams & Matt Tarses
October 23, 1995 (1995-10-23)
60106

Will and Carlton believe they have struck gold when they encounter two beautiful women Sandra and Tiffany (Garcelle Beauvais and Tamala Jones). When the women invite the pair back to their apartment, Will and Carlton get more than they bargained for when Mad Dog (Jaime Cardriche) – the boyfriend of one of the women – arrives. In an attempt to save themselves, the pair hide in the closet – but are soon discovered when they attempt to leave.

131
7
"Not With My Cousin You Don't"
Shelley Jensen
Adam Markowitz
November 6, 1995 (1995-11-06)
60107

In a process of testing out the new intercom in their mansion, Will and Carlton accidentally overhear Ashley talking about having sex with her boyfriend Derek (Jaleel White), who is going to be leaving soon. After Ashley finds out that Will and Carlton overheard her, she becomes furious and storms out of the house and leaves with her boyfriend. Ashley then tells her boyfriend if they are rushing because he is leaving, and they both agree that they are not ready. Will apologizes to Ashley saying he still has trouble seeing her beyond the little girl he first saw when he moved to Bel-Air. Ashley accepts his apology and says that it is not the worst thing to have a cousin who cares too much.

132
8
"Viva Lost Wages"
Shelley Jensen
Robert Bruce
November 13, 1995 (1995-11-13)
60108

Will and Carlton become excited after Philip gives them two tickets to Las Vegas for Carlton's 21st birthday. As soon as they arrive, the pair hit the Casinos, but it soon goes to Carlton's head, and he becomes a gambling addict. When Will discovers that Carlton has spent all of their money – and pawned their airline tickets home – he enters the pair into a talent contest by the casino manager (Wayne Newton) in an attempt to win money to fly home.

133
9
"There's the Rub" (Part 1)
Shelley Jensen
Joel Madison
November 20, 1995 (1995-11-20)
60109

Hilary and Carlton volunteer to help out at a homeless shelter. Hilary is there so the media gives her a good image on how she likes to "help out" and Carlton wants a signature to help him get accepted into Princeton. Will's cure for Phil's back pain gets them in big trouble when they get arrested along with two prostitutes when they go to a massage parlor that is set up by a sting operation. Vivian, Helen, Vy, ask Will whose stuffing is better. Uncle Phil warned Will about arguments with women, but when Will did not take it, it lands him in some hot water with Vy, Helen, and Vivian.

134
10
"There's the Rub" (Part 2)
Shelley Jensen
Joel Madison
November 20, 1995 (1995-11-20)
60110

Once at the shelter, Hilary hates the work she must do and her manager (a homeless lady who lives there) tells her that what she is doing is not the point of Thanksgiving. Carlton's experience is no better: A pre-teen boy Steve (Zachery Ty Bryan) bosses him around so much he can't take it anymore. They both decide to leave but in the car, they realize that they were misbehaving and decide to return to a huge feast for the homeless people, having learned the true meaning of Thanksgiving. Phillip defends himself and Will while proving their innocence in jail and they get released on Thanksgiving Day. The Banks family enjoys Thanksgiving dinner.

135
11
"I, Ooh, Baby Baby"
Alfonso Ribeiro
Tom Devanney & Adam Markowitz
December 11, 1995 (1995-12-11)
60111

When the Christmas season arrives, the family are delighted when Hilary announces that her show is going to be broadcast nationally. Hilary believes that this is the event that is finally going to make her life complete – but after reaching this milestone she still feels empty. She then makes the erratic decision to have a baby–much to the family's surprise.

136
12
"Boxing Helena"
Shelley Jensen
Michael Soccio
January 8, 1996 (1996-01-08)
60112

When Philip signs the family up for sessions at a health club, Will sees it as his opportunity to meet new women. Nicky expresses an interest in boxing, prompting Will to sign him up for boxing lessons. Will soon encounters the instructor Helena (Galyn Görg) – who teaches him a thing or two about female boxers. Meanwhile, Carlton feels threatened by his personal trainer, Stan (Daniel Riordan).

137
13
"I, Clownius"
Shelley Jensen
Story by: David Wyatt
Teleplay by: George Tricker
January 15, 1996 (1996-01-15)
60115

When Phillip starts getting threatening messages over a high-profile trial he is presiding over (based on Heidi Fleiss), The Banks do whatever they can to keep him safe. When Will, Phillip and Carlton make a trip to the gas station, they get more than they bargained for when Carlton confronts a suspicious looking clown named Juggles (Dorien Wilson) – who reveals that he is wearing a bomb, and if Phillip does not cooperate (help him get a big break on TV), he will detonate it. After a huge scene at the courthouse (where Juggles forced them to take him for a show) it is revealed it was a gag bomb and he is arrested for everything he caused.

138
14
"Breaking Up is Hard to Do" (Part 1)
Shelley Jensen
Lisa Rosenthal
February 12, 1996 (1996-02-12)
60113

Ashley gets a great modeling opportunity by Jewel Pemberton (Joan Van Ark) if Will and Carlton stay out of the way. Phil's burgeoning political career has an unexpected effect on Vivian. He promises to tell her about it, but when his associates let it slip that he decided to follow through without telling Vivian, Viv leaves him until he can straighten out his act.

139
15
"Breaking Up is Hard to Do" (Part 2)
Shelley Jensen
Lisa Rosenthal
February 19, 1996 (1996-02-19)
60114

Will, Carlton, Ashley and Hilary take drastic measures to get Phil and Vivian to reconcile.

140
16
"I, Bowl Buster"
Shelley Jensen
Michael Soccio
February 26, 1996 (1996-02-26)
60117

Carlton is anxious when he receives a letter from Princeton University - but soon begins celebrations after it is revealed he has secured a place. His excitement soon turns to worry after he realizes that he will never be able to live up to the kind of achievements that Philip made when he attended Princeton. When Will introduces Carlton to the world of bowling, he makes a decision that leaves the whole family in shock. He wants to ditch the Princeton idea to become a professional bowler.

141
17
"The Butler's Son Did It"
Madeline Cripe
Lisa Rosenthal
March 18, 1996 (1996-03-18)
60116

Geoffrey is delighted when his son, Fredrick (Craig Kirkwood), comes to stay at the Banks'. He soon becomes a popular figure with Geoffrey and Philip, leaving Carlton and Will feeling neglected. However, when Will finds out that Fredrick stole his stash of money as well as a few other things, he finds out that Fredrick only wants money from his father and nothing more. Geoffrey gives Fredrick a lot of money to go to Butler School as he thought Fredrick "wanted to follow in my father's footsteps". He accepts only to go back to England with the pocketed money. Will tells him that even though he is taking a lot of money from his father, he will lose something even more valuable. Fredrick comes back to tell his father and they make amends.

142
18
"Hare Today…"
Shelley Jensen
Robert Bruce
April 8, 1996 (1996-04-08)
60119

Reverend Gordon Sims (Richard Roundtree) misinterprets Vivian's devotion to the church, and in a moment of passion, He declares his feelings for her. Meanwhile, Carlton and Ashley find themselves in competition when a position arises to sing solo at the Easter service. Philip accidentally sits on Nicky's pet rabbit, Harry. Eventually, Nicky finds out the truth about his rabbit from Phillip, but is untraumatized, accepting that it is a part of life, but comically notes, "What a way to go."

143
19
"Whoops, There It Is"
Shelley Jensen
Mary Beth Pemberton & Tanya Ward
April 15, 1996 (1996-04-15)
60124

The actor Will Smith decides to organize a clip show featuring outtakes and bloopers from the past six seasons of the series. He also records a series of interviews with the cast backstage and sends the footage to Dick Clark, which he hopes will air it on his popular primetime series.

144
20
"I, Stank Horse"
Shelley Jensen
Tom Devanney
April 22, 1996 (1996-04-22)
60120

When Ashley receives a letter from the modeling agency asking her to appear in one of their sexy lingerie commercials, Phil immediately takes a dislike to the request and decides to enlist the help of an older, arrogant model to teach Ashley a lesson. Meanwhile, Carlton and Hilary decide to adopt an aged racehorse that is being offered for sale by a local businessman.

145
21
"I, Stank Hole in One"
Werner Walian
Michael Soccio & Matt Tarses
May 6, 1996 (1996-05-06)
60121

When Philip appeals for a partner for a golf tournament, Carlton reluctantly agrees to give Will the position – but later regrets his decision, after Philip gives Will the position permanently. Meanwhile, Hilary becomes excited when she is offered the co-host Live with Regis Philbin, however their diva personalities soon clash.

146
22
"Eye, Tooth"
Shelley Jensen
Adam Markowitz
May 13, 1996 (1996-05-13)
60118

In an attempt to secure a popular guest for her show, Hilary manages to persuade actor William Shatner to appear to promote his new book. However, actions caused by Will and Carlton soon leave Shatner regretting his decision. Meanwhile, Ashley pleads to her father's better side when she announces that she would like to move to New York with Hilary when Hilary's talk show begins broadcasting there.

147
23
"I, Done" (Part 1)
Shelley Jensen
Jeff Pollack
May 20, 1996 (1996-05-20)
60122

As the Banks kids prepare to leave home, Will realizes that he has no plans for his future. Will looks for an apartment, but to no avail. Philip tells the family that they are planning to sell the house to move closer to Hilary and Ashley. This comes as a huge shock to everyone.

148
24
"I, Done" (Part 2)
Shelley Jensen
Jeff Pollack
May 20, 1996 (1996-05-20)
60123

The Banks family prepares to move away from California, and Will confronts his lack of achievements since he moved in with them. Potential buyers (characters from Diff'rent Strokes as well as The Jeffersons) check out the mansion. Hilary moves to New York as her show has been moved there; Ashley will be living with her and will attend a performing arts school. Carlton goes to Princeton University to continue his education while Geoffrey moves back to London to be with his son. Phillip, Vivian, and Nicky move to New York to be near their children. Phillip helps Will get an apartment; Will remains in California to finish off his studies.


document_title: Wonder Woman (2017 film)

question_text: who does wonder woman fight in the end

question_tokens: who does wonder woman fight in the end

root

text: Wonder Woman (2017 film)

text: Plot[edit]

text: In present-day Paris, Diana Prince receives a photographic plate of herself and four men taken during World War I, prompting her to recall her past. Daughter of Queen Hippolyta, Diana was raised on the hidden island of Themyscira, home to the Amazonian warrior women created by Zeus to protect mankind. Hippolyta shares the Amazonian history with Diana, including how Ares, Zeus's son, became jealous of humanity and orchestrated its destruction. When the other gods attempted to stop him, Ares killed all but Zeus, who wounded Ares and forced his retreat. Zeus left the Amazons the island and a weapon, the "Godkiller", to prepare them for Ares' return.

tag: p

text: Initially forbidding Diana to train as a warrior, Hippolyta allows her sister Antiope to train Diana, but only if the training is more rigorous than that of any other warrior. In 1918, Diana, now a young woman, rescues American pilot Captain Steve Trevor when his plane crashes off the Themyscira coast. The island is soon invaded by a German cruiser pursuing Trevor. The Amazons kill the crew, but Antiope sacrifices herself to save Diana. Steve is interrogated with the Lasso of Hestia, and reveals that a war is consuming the outside world, and that he is an Allied spy. He has stolen a notebook of the Spanish chief chemist Isabel Maru, who is attempting to engineer a deadlier form of mustard gas, under the orders of General Erich Ludendorff. Believing Ares is responsible for the war, Diana arms herself with the "Godkiller" sword, the lasso, and her armor before leaving Themyscira with Steve to find and destroy Ares.

text: In London, they deliver Maru's notebook to the Supreme War Council, where Sir Patrick Morgan is trying to negotiate an armistice with Germany. Diana translates Maru's notes and reveals that the Germans plan to release the deadly gas at the war front. Although forbidden by his commanders to act, Steve, with secret funding from Sir Patrick, recruits spy Sameer, marksman Charlie, and smuggler Chief to help prevent the gas from being released. When the team reaches the Western Front in Belgium, they are halted by the enemy lines. Diana goes alone through No Man's Land and captures the enemy trench, allowing the Allied forces to help her liberate the village of Veld. The team briefly celebrates, while Diana and Steve grow closer romantically.

text: The team learns a gala will be held at the nearby German High Command. Steve and Diana each infiltrate the party, with Steve intending to locate the gas and destroy it, while Diana intends to kill Ludendorff, believing that he is Ares and thus killing him will end the war. Steve stops her to avoid jeopardizing the mission, and Ludendorff unleashes the gas on Veld, killing its inhabitants. Blaming Steve for intervening, Diana pursues Ludendorff to a base where the gas is being loaded into a bomber aircraft bound for London. Diana fights and kills Ludendorff but is confused when his death does not stop the war.

text: Sir Patrick appears and reveals himself as Ares. He tells Diana that although he has subtly given humans ideas and inspirations, using Ludendorff and Maru as pawns in the process, it is ultimately their decision to cause violence as they are inherently corrupt. When Diana attempts to kill Ares with the "Godkiller" sword, he destroys it, then reveals Diana to be the "Godkiller", as the daughter of Zeus and Hippolyta. He fails to persuade Diana to help him destroy mankind to restore paradise on Earth. While the two battle, the others on Steve's team destroy Maru's laboratory. Steve pilots the bomber carrying the gas to a safe altitude and detonates it, sacrificing himself in the process. Ares attempts to direct Diana's rage and grief at Steve's death by convincing her to kill Maru, but memories of her experience with Steve cause her to realize that humans have good within them. She spares Maru and redirects Ares' lightning into him, killing him. Later, the team celebrates the end of the war. In the present day, Diana sends an email to Bruce Wayne thanking him for the photographic plate of her and Steve, and reaffirms her new mission to protect and give love to the world.

text: Cast[edit]

text: Gal Gadot as Diana:

tag: ul

text: Chris Pine as Steve Trevor:

text: Robin Wright as Antiope:

text: Danny Huston as Erich Ludendorff:

text: David Thewlis as Ares / Sir Patrick Morgan:

text: Connie Nielsen as Hippolyta:

text: Elena Anaya as Isabel Maru / Doctor Poison:

text: Lucy Davis as Etta Candy:

text: Saïd Taghmaoui as Sameer:

text: Ewen Bremner as Charlie:

text: Eugene Brave Rock as Chief Napi:

text: Lisa Loven Kongsli as Menalippe:

text: Additionally, Mayling Ng, Florence Kasumba, Madeleine Vall Beijner, Hayley Jane Warnes and Ann Wolfe portray Orana, Acantha, Egeria, Aella and Artemis, respectively, all of whom are Amazons.[61][62][63][64] James Cosmo appears as Field Marshal Haig, Steffan Rhodri appears as Colonel Darnell, and Dutch model Doutzen Kroes portrays the Amazon Venelia.[63] Samantha Jo was cast as the Amazonian Euboea, and previously played the Kryptonian, Car-Vex, in Man of Steel.[65] Zack Snyder also makes a brief cameo appearance in the film as an unnamed soldier.[66]

text: Production[edit]

text: Background[edit]

text: Development for a live action Wonder Woman feature film began in 1996, with Ivan Reitman attached as producer and possible director.[67] In 1999 the project became attached to Jon Cohen, who adapted Wonder Woman for producer Joel Silver, with the hope that Sandra Bullock would star.[68] By 2001, Todd Alcott was hired to write the screenplay, with Silver Pictures backing the project.[69] At that time, performers such as Mariah Carey and Catherine Zeta-Jones were also rumored to be possible candidates for the role of Wonder Woman.[70] Leonard Goldberg, however, focused on Bullock[71] who said that she was approached for the role. In addition, wrestler Chyna also expressed interest. Lucy Lawless, the star of Xena: Warrior Princess, was also under consideration, though she stated that she would have been more interested if Wonder Woman was portrayed as a "flawed hero."[72] The screenplay went through various drafts written by Alcott, Cohen, Becky Johnston, and Philip Levens,[73] and by August 2003, Levens had been replaced by screenwriter Laeta Kalogridis.[74]

text: In March 2005, Warner Bros. and Silver Pictures announced that Joss Whedon would write and direct the film,[75] with a reported salary was of $2 to $3 million.[76] Since Whedon was directing Serenity at the time, and required time to research Wonder Woman's background, he did not begin the screenplay until late 2005.[77][78][79] Early drafts of his screenplay included Steve Trevor as the narrator, a fierce battle between Diana and her mother over Trevor's welfare, and after leaving Themyscira, his need to frequently rescue a Diana rendered helpless by the modern world.[80] Whedon was not able to complete a final version of his screenplay however, and left the project in 2007.[81][82]

text: Although Whedon stated in May 2005 that he would not cast the part of Wonder Woman until he finished the script,[83] actors such as Kate Beckinsale were linked to the part.[84] In 2010 however, Whedon admitted that he did have an actress in mind for the part, stating that "Wonder Woman was basically Angelina Jolie."[80][85] A few years later in May 2017, Indie Ground Films leaked a version of Whedon's script in-progress online.[86] Some reacted negatively to it on social media in June 2017, shortly after the release of Patty Jenkins' version of the film.[87][88][89][90][91] When asked about this response to his script, Jenkins said in a June 2017 interview that she has not read it and that Whedon is "in the DC universe now, and I don't think there's any reason to go there [...] It was what it was. I'm lucky that I'm the person who got to do it. But I don't see what would be beneficial about comparing what he would've done versus what I would have done."[92][93]

text: A day before Whedon's departure from Wonder Woman, Warner Bros. and Silver Pictures purchased a spec script for the film written by Matthew Jennison and Brent Strickland. Set during World War II, the script impressed executives at Silver Pictures.[82] However, Silver stated that he had purchased the script because he did not want the rights reverting; while stating the script had good ideas, Silver did not want the film to be a period piece.[94] By April 2008, Silver hired Jennison and Strickland to write a new script set in contemporary times that would not depict Wonder Woman's origin, but explore Paradise Island's history.[95] In November 2008, Beyoncé met with representatives from DC Comics and Warner Bros., to discuss her interest in portraying Wonder Woman.[96]

text: In 2010, Warner Bros. stated that a film was in development, along with films based on DC Comics superheroes the Flash and Aquaman.[97] Both Wonder Woman and Aquaman were still under consideration for solo film subjects as of June 2013.[98] DC Chief Diane Nelson said Wonder Woman "has been, since I started, one of the top three priorities for DC and for Warner Bros. We are still trying right now, but she's tricky."[99] On October 5, 2013, WB chairman Kevin Tsujihara said he wanted to get Wonder Woman in a film or on TV.[100] Shortly afterward, Paul Feig said he had pitched the studio an idea for Wonder Woman as an action-comedy film.[101][102] The studio then began to search for female directors to direct the film.[103] While Michelle MacLaren was the studio's initial choice to direct (and while she initially indicated interest),[104][105][106] she eventually left the project due to creative differences.[107]

text: Development[edit]

text: In 2015, Patty Jenkins accepted an offer to direct Wonder Woman,[108] based on a screenplay by Allan Heinberg and a story co-written by Heinberg, Zack Snyder, Geoff Johns and Jason Fuchs.[109] Of this version, Gadot stated that,

text: for a long time, people didn't know how to approach the story. When Patty and I had our creative conversations about the character, we realized that Diana can still be a normal woman, one with very high values, but still a woman. She can be sensitive. She is smart and independent and emotional. She can be confused. She can lose her confidence. She can have confidence. She is everything. She has a human heart.[5]

text: This version was conceived of as a prequel to the first live-action, theatrical appearance of Wonder Woman, in the 2016 film, Batman v Superman: Dawn of Justice,[110] placing Wonder Woman in the 1910s and World War I (a decision which differs from her comic book origins as a supporter of the Allies during World War II).[111] As for story development, Jenkins credits the stories by the character's creator William Moulton Marston in the 1940s and George Perez's seminal stories in the 1980s in which he modernized the character.[112] In addition, it follows some aspects of DC Comics' origin changes in The New 52 reboot, where Diana is the daughter of Zeus.[10][113] Jenkins cited Richard Donner's Superman as an inspiration.[114]

text: Casting[edit]

text:
"I remember when I read in the news that Wonder Woman had been cast and my heart sank [...] I'm sure we wouldn't have made the same choice. And then I started paying attention to her, and watching her and looking at her and it was just unbelievable. Frankly, I think they did a better job than I could have because I don't know that I would have scoured the earth as hard to find her [...] They were looking for all the same things I would have looked for—all the values that Wonder Woman stands for exuding from someone in an honest way, and boy did they find it [...] She shares every quality with Wonder Woman and that's no joke. It's one of those rare things. You need someone who can appear to be Wonder Woman on screen [...] Every once in a while, there's superhero casting that transcends, because that person is so authentic to the character that it becomes identified with them, like Lynda Carter or Christopher Reeve."

– Director Patty Jenkins[115] in response to the interview questions: "Let's talk a bit about Gal. You inherited her from Zack Snyder. Was it difficult to not get to choose your own Wonder Woman?" and "What is it about Gal that makes her such a good fit?"

tag: div

text: In late 2013, Zack Snyder cast Gal Gadot in the role of Wonder Woman for the 2016 film, Batman v Superman: Dawn of Justice over Élodie Yung and Olga Kurylenko.[116][117][118][119] Some fans initially reacted to this choice by criticizing Gadot's appearance.[120] Snyder would later comment on his decision to cast Gadot, stating that he

text: tested a bunch of actresses, as you can imagine. But the thing with Gal is that she's strong, she's beautiful, and she's a kind person, which is interesting, but fierce at the same time. It's that combination of being fierce but kind at the same time that we were looking for.[121]

text: Gadot described Diana as having "the heart of a human so she can be emotional, she's curious, she's compassionate, she loves people. And then she has the powers of a goddess. She's all for good, she fights for good."[5] She also said that Diana has "many strengths and powers, but at the end of the day she's a woman with a lot of emotional intelligence".[122] As to how her character is different from her appearance in Batman v Superman: Dawn of Justice, Gadot said "We go back 100 years to when she's more naive", further explaining, "She's this young idealist. She's pure. Very different to the experienced, super-confident, grown-up woman you've seen".[123] Gadot underwent a diet and training regimen, practiced different martial arts and gained 17 pounds of muscle for the role.[124][125] Gadot was previously offered a different role (as a villain) in Man of Steel, which she declined because she was pregnant at the time; this allowed her to later be cast as Wonder Woman in the film's follow-up.[126] Gadot signed a three-picture deal.[118] She was only paid a base salary of $300,000 for the film itself.[127]

text: Chris Pine was cast as Steve Trevor,[19][128] a character he described as a "rogue-ish, cynical realist who's seen the awful brutish nature of modern civilization" and added that he is a "worldly guy, a charming guy".[129] He signed a multi-picture deal.[19] Lucy Davis' performance as Etta Candy is the first live-action cinematic portrayal of the character.[130] As well, Elena Anaya's performance as Doctor Poison is the cinematic debut of that character. Nicole Kidman was in negotiations for the role of Queen Hippolyta, but was forced to drop out due to scheduling conflicts with Big Little Lies.[131][132]

text: Filming[edit]

text: Production began on November 21, 2015,[133][134] under the working title Nightingale.[135][136] Among the film sets were Lower Halstow, Kent,[137] Australia House,[138] and the Sassi di Matera,[139] Castel del Monte[139] and Camerota[140] in Southern Italy. Matthew Jensen was the director of photography,[141] filming in the United Kingdom, France and Italy.[142] Production in London ended on March 13, 2016.[143] On March 20, 2016, filming was underway in Italy. In late April, filming took place at a museum in France, where a Wayne Enterprises truck was spotted alongside Gadot.[144] Production ended on May 9, 2016.[145] Patty Jenkins and director of photography Matt Jensen revealed that the film's look was inspired by painter John Singer Sargent.[146] Reshoots took place in November 2016, while Gadot was five months pregnant. A green cloth was placed over her stomach to edit out her pregnancy during post-production.[147]

text: To find the perfect location to shoot the Amazon island of Themyscira, the birthplace of Wonder Woman herself, the film's producers searched all over the world, finally settling on the Amalfi Coast: a stretch of coastline on the Tyrrhenian Sea, located in the Province of Salerno in Southern Italy.[148] It was chosen because most beaches in the world that sit below big cliffs disappear beneath the tide for part of every day. Production designer Aline Bonetto and her location manager Charles Somers considered 47 countries and visited several of them before they found what they were looking for. Bonetto explained that, "Italy had beautiful weather, a beautiful blue-green sea, not too much tide, not too much wave. Our effects team added some cliffs in post-production, and it was the perfect way to go".[149]

text: The estuary at Lower Halstow in Kent, featured in the scenes in which Princess Diana arrives in the Belgium creek to make her way to the warfront.[150]

text: Post-production[edit]

text: Bill Westenhofer served as the visual effects supervisor for the film[151] and Martin Walsh served as editor.[141]

text: Music[edit]

text: On November 3, 2016, Rupert Gregson-Williams was hired to write and compose the film's music.[152] He was joined by Evan Jolly, Tom Howe,[153] Paul Mounsey,[154] and Andrew Kawczynski,[155] who provided additional music. The soundtrack was released on CD, digital, and vinyl the same day as the film.[156]

text: Australian musician Sia sang a song for the film, titled "To Be Human", featuring English musician Labrinth. Written by Florence Welch and Rick Nowels, the track is also featured on the soundtrack.[157]

text: Additional music featured in the film are: "Another Little Drink Wouldn't Do Us Any Harm" by Clifford Grey and Nat Ayer and performed by Edgar Trevor and Cecil Cooper; "Molly O'Morgan" written by Fred Godfrey and Will Letters and performed by Ella Retford; "It's a Long Way to Tipperary" written by Jack Judge and Harry Williams; "Sous les ponts de Paris" written by Jean Rodor and Vincent Scotto and performed by Lucienne Delyle; "I'll Walk Beside You" written by Edward Lockton and Alan Murray and performed by Ewen Bremner; "Green Grow the Rushes, O" written by Robert Burns and performed by Ewen Bremner; and "Schatzwalzer Op. 4" written by Johann Strauss II and performed by the Berlin String Quartet.[158] Also features samples from the movie's soundtrack "Is She with You" from Batman v Superman: Dawn of Justice composed by Hans Zimmer and Junkie XL.

text: Release[edit]

text: Wonder Woman had its world premiere on May 25, 2017 in Los Angeles.[159] The film's London premiere, which was scheduled to take place on May 31 at the Odeon Leicester Square, was cancelled due to the 2017 Manchester Arena bombing.[160] The film had its Latin America premiere in Mexico City on May 27. It was released in most of the world, including in IMAX,[161] on June 2, 2017, after originally being scheduled for June 23.[162][163] Belgium, Singapore and South Korea received the film first, with May 31 openings.[164][165][166] On April 17, it was announced that Wonder Woman would be released in China on June 2, the same day as its North American release.[167]

text: Marketing[edit]

text: The success of the superhero television series Supergirl informed the marketing and promotion strategy used for Wonder Woman.[168] According to Time Warner chief marketing officer Kristen O'Hara, they wanted to approach the Wonder Woman marketing campaign in a light manner, similar to how they did with Supergirl. O'Hara elaborated that the modest campaign route they took for Supergirl aided in establishing a large central fanbase among women well in advance of the series, which reportedly generated 5 million female superhero fans in one week.[168] They were then able to model over time, and grow that audience leading up to the 15-months-later release of Wonder Woman.[168] Though neither the film nor the series are aimed exclusively at women, the latter's campaign gave them their first opportunity to begin collecting data about female superhero fans.[168] In May 2017, a promo for Wonder Woman was released during the season finale of Supergirl, featuring a remix of the song "These Boots Are Made for Walkin'" and Supergirl (Melissa Benoist) wearing Wonder Woman's boots.[169] The promo included an appearance by Lynda Carter, star of the 1970s Wonder Woman, who plays the American president on Supergirl.[169]

text: The costs for television advertisements for Wonder Woman are higher in comparison to that of previous DCEU film Suicide Squad. Warner Bros. has spent over $3 million on advertisements for Wonder Woman, whereas they spent $2.6 million on advertisements for Suicide Squad.[170]

text: Ticket selling site Fandango reported that Wonder Woman rounded the final leg of its marketing campaign as the most anticipated blockbuster of summer 2017, according to a poll conducted by 10,000 voters, the biggest survey in company history.[171] Separately, Fandango also found that 92% of people surveyed said that they are looking forward to seeing a film that features a standalone woman superhero, and 87% wished Hollywood would make more women-led superhero films.[172]

text: In May 2017, NASCAR driver Danica Patrick drove her No. 10 car with a Wonder Woman paint scheme at the Go Bowling 400 in Kansas and at the Monster Energy Open in Charlotte.[173]

text: Home media[edit]

text: The film was released on Digital HD on August 29, 2017 and on Blu-ray, Blu-ray 3D, 4K Ultra-HD Blu-ray and DVD on September 19, 2017.[174]

text: Controversies[edit]

text: Bans[edit]

text: On May 31, Wonder Woman was banned in Lebanon after the Campaign to Boycott Supporters of Israel asked the Lebanese government's Ministry of Economy and Trade to block the film because its star, Gal Gadot, is Israeli.[175] The Lebanese government did not, however, ban Gadot's Fast & Furious films which did screen in Lebanon.[176][177] On June 7, Variety reported that a Tunisian court suspended the theatrical release of Wonder Woman after a lawsuit brought by the Al-Chaab party and the Tunisian Association of Young Lawyers to have the film blocked due to Gadot's Israeli citizenship, military service, and public comments in support of the Israeli military during the 2014 war in Gaza.[178] Jordan was reportedly also considering a ban of the film and suspended screenings pending a decision,[179] but on June 11, Al Bawaba reported that the government decided not to do so, as there was no legal precedent for it.[180]

text: Women-only screenings[edit]

text: Some men were unhappy with women-only screenings held at the Alamo Drafthouse Cinema in Austin, with some opponents of the gender-restricted screening stating on platforms such as Facebook that such screenings were discriminatory against men.[181][182][183]

text: A gay Albany Law School professor initiated a complaint with Austin's Equal Employment and Fair Housing Office claiming discrimination against male prospective customers and employees of the theater.[184] The chain responded with an online statement saying the event "may have created confusion—we want everybody to see this film" and announced a similar event at their Brooklyn location. Tickets sold out in less than an hour, prompting the chain to schedule additional screenings.[181] On July 18, Alamo Drafthouse proposed settlement offers of a Wonder Woman DVD to the complainants, stating "Respondent did not realize that advertising a 'women's only' screening was a violation of discrimination laws"[185]

text: Reception[edit]

text: Box office[edit]

text: As of November 2, 2017[update], Wonder Woman has grossed $412.6 million in the United States and Canada and $409.2 million in other territories for a worldwide total of $821.8 million, against a production budget of $149 million.[4] Estimates for the number the film needed to surpass internationally in order to cover its production and promotional costs and break even ranged from $300 million[186] to $460 million.[187]

text: North America[edit]

text: In May 2017, early tracking had Wonder Woman opening with $65–75 million, and possibly as high as $105 million.[188][189][190][191][186] The film opened Friday, June 2, 2017, across 4,165 theaters and made $38.7 million on its opening day, including $3.7 million in IMAX. It was the biggest single-day gross for a woman-directed film, ahead of the $35.9 million opening Friday of Catherine Hardwicke's Twilight in 2008 and the biggest opening day for a woman-led comic book superhero film, ahead of Ghost in the Shell ($7 million).[192] This included $11 million it made from Thursday previews, also the best start for a film directed by a woman, surpassing Fifty Shades of Grey's $8.6 million which was directed by Sam Taylor-Johnson, and the third-biggest of the year, behind Beauty and the Beast and Guardians of the Galaxy Vol. 2. Of that, $1.5 million came from IMAX screenings.[193][194]

text: Earning a total of $103.3 million on its opening weekend, the film recorded a number of records: the biggest domestic opening of all time for a female director (surpassing previous record holder Fifty Shades of Grey by Sam Taylor-Johnson), the biggest DC Comics release without Batman or Superman (ahead of Constantine), the sixth-biggest non-sequel comic book superhero debut ever, as well as the sixth-biggest June debut weekend.[195] Its three-day opening alone made it the highest-grossing woman-led comic book superhero film ever (surpassing Ghost in the Shell).[196] It was also the 16th superhero film to cross $100 million in its domestic box office launch.[197] About 9% ($9 million) of the opening weekend came from IMAX screenings from 343 theaters.[198] In its second week the film grossed $58.5 million, again topping the box office. It marked a 43.3% drop for its second weekend at the box office, better than the average 50–60% decline superhero films tend to see, and was a better second weekend than Batman v Superman: Dawn of Justice ($51.3 million) and Suicide Squad ($43.5 million).[199] In its third weekend it grossed $40.8 million, finishing second behind newcomer Cars 3 ($53.5 million). It was the second-best third weekend ever for Warner Bros. and was nearly double what Batman v Superman ($23.3 million), Suicide Squad ($20.9 million) and Man of Steel ($20.7 million) made in their third weekends. It earned $24.9 million and $15.7 million in its fourth and fifth weekends, respectively, dropping just 39% and 36% despite facing rough competition from opening films Transformers: The Last Knight and Despicable Me 3.[200] It eventually became the highest-grossing film directed by a woman, surpassing the previous records of Jennifer Yuh Nelson's Kung Fu Panda 2 and Phyllida Lloyd's Mamma Mia!.[8] By August 8, the film had garnered $400 million in ticket sales, becoming the second female-fueled film (after Disney's Beauty and the Beast), Warner Bros.' third-biggest movie (after Christopher Nolan's The Dark Knight and The Dark Knight Rises), holding the record of the highest origin superhero film; supplanting the previous record held by Spider-Man (2002) and also becoming the highest-earning film with a female director in terms of domestic earnings, surpassing Frozen (2013).[201][202]

text: International[edit]

text: Internationally, the film was released day-and-date with its North American debut in 55 markets (72% of its total release), and was projected to debut with anywhere between $92–118 million.[186] It ended up opening to $125 million, including $38 million in China, $8.5 million in Korea, $8.4 million in Mexico, $8.3 million in Brazil and $7.5 million in the UK.[203] In its second week of release, the film brought in another $60 million, including holding the top spot on France, the UK, Australia and Brazil.[204] As of June 25, 2017, the biggest markets of Wonder Woman outside North America are China (US$90 million) followed by Brazil (US$34 million), UK (US$28 million) and Australia (US$24 million). In the Philippines, it broke 2017 box office record for highest-earning non-holiday opening day—earning $4.7 million and becoming the 6th-most successful commercial film of all time as well overtaking the record set by Batman v Superman: Dawn of Justice.[205][206][207] The film opened in its last market, Japan, on August 25 and debuted to $3.4 million, helping the international gross cross the $400 million mark.[208]

text: Critical response[edit]

text: Wonder Woman received largely positive reviews from film critics, with some calling it the best film in the DC Extended Universe, and praising Jenkins' direction, performances, chemistry of Gadot and Pine and musical score.[7][212] On the review aggregator Rotten Tomatoes, the film holds an approval rating of 92% based on 354 reviews, with an average rating of 7.5/10. The site's critical consensus reads, "Thrilling, earnest, and buoyed by Gal Gadot's charismatic performance, Wonder Woman succeeds in spectacular fashion."[213] It is the highest-rated superhero film on the site.[214][note 1] On Metacritic, which assigns a normalized rating, the film has a score of 76 out of 100, based on 50 critics, indicating "generally favorable reviews".[215] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[216]

text: Critics commented favorably on Gadot's performance and Chris Pine's Steve Trevor.[217][218][211] Andrew Barker of Variety found the film to be more lighthearted than recent DC Comics films: "Never prone to stewing in solitude, and taking more notes from Richard Donner than from Christopher Nolan, Patty Jenkins' Wonder Woman provides a welcome respite from DC's house style of grim darkness—boisterous, earnest, sometimes sloppy, yet consistently entertaining—with star Gal Gadot proving an inspired choice for this avatar of truth, justice, and the Amazonian way."[219] Vox stated "Trevor is the superhero girlfriend comic book movies need".[220] The San Francisco Chronicle's Mick LaSalle lauded the performances of Gadot, Pine, Huston, and Thewlis while commending the film's "different perspective" and humor.[221] Richard Roeper of Chicago Sun-Times described Gadot's performance as inspirational, heroic, heartfelt and endearing and the most "real" Wonder Woman portrayal.[222]

text: A. O. Scott of The New York Times wrote that it "briskly shakes off blockbuster branding imperatives and allows itself to be something relatively rare in the modern superhero cosmos. It feels less like yet another installment in an endless sequence of apocalyptic merchandising opportunities than like ... what's the word I'm looking for? A movie. A pretty good one, too."[223] Michael Phillips of Chicago Tribune compared the film to Captain America: The First Avenger, noting that as with "the first Captain America movie over in the Marvel Comics universe, DC's Wonder Woman offers the pleasures of period re-creation for a popular audience. Jenkins and her design team make 1918-era London; war-torn Belgium; the Ottoman Empire; and other locales look freshly realized, with a strong point of view. There are scenes here of dispossessed war refugees, witnessed by an astonished and heartbroken Diana, that carry unusual gravity for a comic book adaptation."[224] Katie Erbland of IndieWire commended its thematic depth, explaining that "Wonder Woman is a war movie. Patty Jenkins' first—and we hope not last—entry into the DC Expanded Universe is primarily set during World War I, but while the feature doesn't balk at war-time violence, it's the internal battles of its compelling heroine that are most vital."[225] Alonso Duralde of TheWrap similarly felt that, "Diana's scenes of action are thrilling precisely because they're meant to stop war, not to foment it; the idea of a demi-god using love to fight war might sound goofy in the abstract, but Jenkins makes the concept work."[226] Ann Hornaday of The Washington Post praised Gadot and Pine's performances as well the film's detailed plot and narrative while comparing of some slow-motion action sequences to The Matrix.[227] Stephanie Zacharek of Time magazine hailed the film as a "cut above nearly all the superhero movies that have been trotted out over the past few summers" while praising Gadot's performance as "charming" and "marvelous" and commending Jenkins' direction of the film as a step forward for women directors in directing big-budget blockbuster films in Hollywood.[228]

text: Elise Jost of Moviepilot observed that "Gadot's take on Wonder Woman is one of those unique cases of an actor merging with their story, similar to Robert Downey Jr.'s Tony Stark. Gal Gadot is Wonder Woman, and Wonder Woman is Gal Gadot."[211] Jost praised Gadot's interpretation of Wonder Woman as the one in which Gadot "absolutely nails the character's unwaveringly positive outlook on life. She's a force of nature who believes in the greater good; her conviction that she's meant to save the world is stronger than her bullet-deflecting shield. She's genuine, she's fun, she's the warm source of energy at the heart of the movie."[211] The Federalist suggests that Wonder Woman is "a story of Jesus". "The movie is wrapped up in faux Greek mythology, true, but there's no mistaking the Christology here."[229] "Perhaps Christ in the form of a beautiful and kick-ass Amazon is all that our contemporary society can handle right now", stated M. Hudson, a Christian feminist.[229] On HuffPost cultural critic, G. Roger Denson, who regards the superhero genre as a source of contemporary "Mainstream Mythopoetics" ("the making of new yet vitally meaningful, if not symbolic, stories filled with imagery reflecting, yet also shaping and advancing, the political, legal, moral and social practices of today"), wrote that the "No Man's Land" scene "that people are crying over in theaters and raving about afterward happens to be among the most powerfully mythopoetic scenes ever filmed at the same time it is one of the oldest myths to have been utilized by artists and writers after it had been invented by early military strategists and leaders." Specifically "used by director Patty Jenkins", the scene raises "the esteem for powerful yet compassionate women as heroes and leaders to a level equal with that of men for having won over a huge and adoring popular audience around the world".[230]

text: Steve Rose in The Guardian criticized the film for failing to explore the material's potential for "patriarchy-upending subversion".[231] Peter Travers of Rolling Stone criticized the film's over-reliance on exposition: "Wonder Woman is hobbled by a slogging origin story and action that only comes in fits and starts. Just when Gadot and director Patty Jenkins...are ready to kick ass, we get backstory."[232]

text: "Gas was intended to win the war. On that much Wonder Woman is absolutely right." said David Hambling in Popular Mechanics.[233] Rachel Becker of The Verge stated that despite the scientific liberties of using a "hydrogen-based" chemical weapon as a plot device, the film succeeds in evoking real and horrifying history. "First off, mustard gas is such a horrible, terrifying weapon, it doesn't need to be made more potent. But if you were a chemist bent on raining destruction on the Allied forces, you wouldn't do it by replacing the sulfur atom in mustard gas with a hydrogen atom. You'd know that sulfur is the linchpin holding together this poisonous molecule."[234]

text: Feminist debate[edit]

text: Wonder Woman has been the subject of a discussion regarding the appearance and representation of female power in general, and of female action heroes in particular[235] since her initial 1941 appearance in Sensation Comics,[235] as she was created to document "the growth in the power of women", while wearing "a golden tiara, a red bustier, blue underpants and knee-high, red leather boots."[236] She was blacklisted a year later in 1942 in the "Publications Disapproved for Youth" because, the group behind the list argued, she was "not sufficiently dressed".[236][237]

text: A few decades later, Second-wave feminist Gloria Steinem's[238] Ms. Magazine debuted in 1972 with an image of Wonder Woman on the cover. Historian Tim Hanley suggested that this move shifted "the focus away from female superiority to sisterhood and equality, essentially making her a mascot of the women's movement".[235][239][240] This perception shifted over the years, however, as demonstrated in December 2016 when the United Nations decided to drop the title of "honorary ambassador for the empowerment of women and girls" which it had given to the comic book character Wonder Woman a few months before, in a ceremony attended by the actors who had portrayed her (Lynda Carter and Gal Gadot).[241] The title was dropped in response to a petition signed by 44,000 people which argued that Wonder Woman undermines female empowerment due to her costume, described as a "shimmery, thigh-baring bodysuit with an American flag motif and knee-high boots". The petition stated that "it is alarming that the United Nations would consider using a character with an overtly sexualised image at a time when the headline news in United States and the world is the objectification of women and girls".[242][243][239] Wonder Woman director Patty Jenkins responded to both the petition and to the U.N.'s decision by stating that she thinks "that that's sexist. I think it's sexist to say you can't have both. I have to ask myself what I would apply to any other superhero".[244]

text: The debate continued with the release of Jenkins' 2017 film, Wonder Woman, which according to the BBC had "some thinking it's too feminist and others thinking it's not feminist enough".[245][246][247][248][249] Kyle Killian found an inherent contradiction in the construction of Wonder Woman as "a warrior" whom, she states, is also highly sexualized. Killian thus suggests that these elements "should not be the focus of a kickass heroine—her beauty, bone structure, and sexiness—if she is to be a feminist icon".[250] Theresa Harold concurred, comparing Wonder Woman to Katniss Everdeen (of The Hunger Games), who "didn't have to wear a teenager's wet dream of a costume to fight in".[251] Christina Cauterucci also felt that Wonder Woman's ability to be considered a "feminist antidote" was undermined by her "sex appeal".[252] Other critics refer to the construction of Wonder Woman in the film as "an implausible post-feminist hero".[237][253]

text: Jenkins disagrees with this line of critique, however. She has stated that she was raised by a Second wave "feminist mother",[254][255] who taught her to be "both super aware that there had been sexism but also: 'Congratulations – thank you, now I get to do whatever I want, Mom!'"[254] Jenkins thus notes that it is this upbringing which has led her to question a feminist critique of Wonder Woman’s costume.[256] When she was working on her own version of Wonder Woman's "Gladiator" re-design of the outfit (in the 2016 film Batman v Superman: Dawn of Justice)[257] Jenkins decided that Wonder Woman (as well as the other Amazons) "shouldn't be dressed in armor like men [...] It should be different [...] I, as a woman, want Wonder Woman to be hot as hell, fight badass, and look great at the same time – the same way men want Superman to have huge pecs and an impractically big body."[15] Jenkins also notes that she is "frustrated" by the critique of Wonder Woman's appearance, stating "when people get super critical about her outfit, who's the one getting crazy about what a woman wears? That's who she is; that's Wonder Woman."[255]Gal Gadot concurs with Jenkins, arguing that the character "is a feminist"[258] as "feminism is about equality and choice and freedom. And the writers, Patty and myself all figured that the best way to show that is to show Diana as having no awareness of social roles. She has no gender boundaries. To her, everyone is equal."[259]

text: Critics such as Valerie Estelle Frankel support Jenkins' vision. Frankel argues that the film subverts the male gaze,[256] stating that the construction of Wonder Woman tends to shift every few decades as it reflects the state of feminism during different time periods, including Third-wave feminism (which reflects Jenkins' approach).[256][260][261] Zoe Williams offers a similar argument stating that while Wonder Woman "is sort of naked a lot of the time" it isn't, at the same time, "objectification so much as a cultural reset: having thighs, actual thighs you can kick things with, not thighs that look like arms, is a feminist act".[262] Williams then juxtaposes Wonder Woman to past female action heroes such as Sarah Connor, Ellen Ripley, and Lara Croft, whom she suggests were all constructed for the male gaze, in which a "female warrior becomes a sex object", (a point which she argues that Jenkins directly references in the film).[262] Gloria Steinem thought that the film "was very good" as it made Wonder Woman's "Amazon origin story clear; she was stopping war, not perpetuating it." Steinem also noted that she knew "some women were disappointed by all the makeup, but I may be desperate—I was just happy that the Amazons had wild hair!" Her only complaint lay in the choice to eliminate the World War II setting as the Wonder Woman comic book developed in response to existing comics that were "so sadistic and racist that there was a congressional hearing on the subject".[263] Steinem also gave Hillary Clinton the first Wonder Woman Award in October 2017 during the Women's Media Center's "Speaking Truth to Power Awards" (an organization created by Steinem, Jane Fonda, and Robin Morgan). Upon receiving the award, Clinton noted that she had seen Jenkins' Wonder Woman film and that she "loved the outfit". She also said that as her granddaughter was "really keen" on Wonder Woman, Clinton "thought maybe I could borrow something from her for the night. It didn't quite work for me, but I will say that this award means a lot to me because as a little girl, and then as a young woman, and then as a slightly older woman, I always wondered when Wonder Woman would have her time, and now that has happened."[264] Clinton had previously praised Jenkins' film, in a public August 2017 message, stating that "it was just as inspirational as I'd suspected a movie about a strong, powerful woman in a fight to save the world from international disaster would be."[265][266][267]

text: American director James Cameron continued this debate, through his critique of the representation of female power in Jenkins' film. In an August 2017 interview with The Guardian, Cameron qualifies Jenkins' vision of Wonder Woman as "an objectified icon" and called the film "a step backwards". In contrast, he states, his character Sarah Connor (from his Terminator films) "was not a beauty icon. She was strong, she was troubled, she was a terrible mother, and she earned the respect of the audience through pure grit."[268] Jenkins stated in response that Cameron's "inability to understand what 'Wonder Woman' is, or stands for, to women all over the world is unsurprising as, though he is a great filmmaker, he is not a woman". She further argued "there is no right and wrong kind of powerful woman" because "if women have to always be hard, tough and troubled to be strong, and we aren't free to be multidimensional or celebrate an icon of women everywhere because she is attractive and loving, then we haven't come very far have we."[269] Reaction to this debate was mixed. Julie Miller sided with Cameron whom she states refers to himself as "a pretty hardcore feminist" and who told Vulture that "I have no problem writing a script in which the males become subservient to the females, which is what happens in Aliens [...] It's up to Ripley to win the day." In contrast, Miller argues that Jenkins and Gadot envisioned Wonder Woman as "a woman who exuded both femininity and strength, along with genuine confusion as to why men would treat women differently than they do other men".[270] Susannah Breslin also agreed with Cameron, describing Jenkins' Wonder Woman as "a Playmate with a lasso" and "female power with no balls".[271] Others were more critical of Cameron's critique.[272] An article in Newsweek suggested that Cameron's films include "lot of objectification", and included quotes from Hollywood celebrities such as Jesse McLaren who commented that "James Cameron's just confused there's a female hero whose motivations aren't centered around motherhood."[273] Noah Berlatsky found areas of agreement between both Cameron and Jenkins, stating that while Cameron's objection is "an old point that's been made over and over for decades", Jenkins film isn't "solely focused on objectifying Gal Gadot for a male audience".[274]

text: A few weeks later in September, Cameron reiterated his criticism in an interview with the Hollywood Reporter. He compared Gal Gadot's representation of the character to Raquel Welch films of the 1960s,[275] and reinforced a comparison with Linda Hamilton's portrayal of Sarah Connor. He argued that Connor was "if not ahead of its time, at least a breakthrough in its time" because though she "looked great", she "wasn't treated as a sex object".[275] He also stated that he while he "applaud[s] Patty directing the film and Hollywood, uh, 'letting' a woman direct a major action franchise, I didn't think there was anything groundbreaking in Wonder Woman. I thought it was a good film. Period."[275] Former Wonder Woman actress Lynda Carter responded to Cameron's Hollywood Reporter interview by asking him to "Stop dissing WW." Like Jenkins, she suggests that while Cameron does "not understand the character" she does. She also refers to Cameron's critiques as "thuggish jabs at a brilliant director" that "are ill advised" as the "movie was spot on". Carter also states that she has the authority to make these observations because she has "embodied this character for more than 40 years".[276][277][278] A month later, Jenkins responded to Cameron's comments once again in an interview with Variety, stating that she "was not upset at all" as "everybody is entitled to their own opinion. But if you're going to debate something in a public way, I have to reply that I think it's incorrect."[279] Tricia Ennis was also critical of Cameron's statements, arguing that "while he may consider himself a feminist and an ally to women, [he] is not very good at it" as being an ally means using his position of privilege "without silencing the voices of those you're trying to help". She also states that it "is not enough to simply call yourself a feminist. It's not even enough to create a strong female character [...] You have to bring women to the table. You have to let them speak. You cannot speak for them. But speaking for women is exactly what Cameron is doing through his comments [...] Cameron is using his position of power as a respected producer and director to silence women."[280]

text: Accolades[edit]

text:
Award
Date of ceremony
Category
Recipient(s) and nominee(s)
Result
Ref.

IndieWire Critic's Poll
December 19, 2016
Most Anticipated of 2017
Wonder Woman
Nominated
[281]

Golden Trailer Awards
June 6, 2017
Best of Show
Won
[282]
[283]

Best Fantasy / Adventure

Best Summer 2017 Blockbuster Poster

Teen Choice Awards
August 13, 2017
Choice Action Movie
[284]
[285]
[286]

Choice Action Movie Actor
Chris Pine

Choice Action Movie Actress
Gal Gadot

Choice Movie Ship
Gal Gadot & Chris Pine
Nominated

Choice Liplock
Chris Pine & Gal Gadot

Choice Summer Movie
Wonder Woman

Choice Summer Movie Actor
Chris Pine

Choice Summer Movie Actress
Gal Gadot

Dragon Awards
September 3, 2017
Best Science Fiction or Fantasy Movie
Wonder Woman
Won
[287]

Hollywood Music in Media Awards 2017
November 16, 2017
Best Original Score – Sci-Fi/Fantasy/Horror Film
Rupert Gregson-Williams
Pending
[288]

tag: table

text: Sequel[edit]

text: Originally signed for three feature films, with Wonder Woman and Justice League being her second and third films, Gadot signed an extension to her contract for additional films.[289] Jenkins initially signed for only one film,[290] but in an interview with Variety, Geoff Johns revealed that he and Jenkins are writing the treatment for a Wonder Woman sequel and that he has a "cool idea for the second one". At the 2017 San Diego Comic Con, Warner Bros. officially announced a sequel would be released on December 13, 2019, and would be titled Wonder Woman 2; the date was later moved up to November 1, 2019.[291][292][293] Later, Jenkins was officially signed to return as director, with confirmation that Gadot will be returning as the titular role.[294] On August 19, 2017, actress Geena Davis stated that she would like very much to play a role in Wonder Woman 2 and that she is in talks with Jenkins about that matter.[295] Days later, the studio hired Dave Callaham to co-write the film's script with Jenkins and Johns.[296]

text: Notes[edit]

text: Jump up ^ This is by an adjusted Tomatometer with at least 20 reviews each that, uses a weighted Bayesian based formula to account for the differences in ratings.

tag: ol


document_title: Leader of the Pack

question_text: where did betty meet the leader of the pack

text: Leader of the Pack

text: Background and composition[edit]

text: The tune of "Leader of the Pack" is credited to pop impresario George "Shadow" Morton together with Jeff Barry and Ellie Greenwich. According to Morton,[2] he wrote the song for the Goodies (also known as the Bunnies[3]), but instead it was needed as a follow-up to the Shangri-Las hit "Remember (Walking in the Sand)". He said he did not know that he was supposed to have a second idea ready to follow up "Remember (Walking in the Sand)" until Jerry Leiber and Mike Stoller (Red Bird Records co-owners with George Goldner) asked him, "Hey, what do you want to do for the second record?" Morton said he "got a bottle of champagne, two cigars" and "went into the shower, sat down, drank the champagne, smoked the cigars, and wrote the song on a shirt cardboard with my kids crayons." Morton claimed he credited Barry and Greenwich as co-writers for business reasons;[citation needed] however his recollection has been questioned by Ellie Greenwich.[citation needed]

text: Lyrical content[edit]

text: The song is about a girl named Betty, who is asked by friends to confirm that she is dating Jimmy, the leader of a motorcycle gang, whose ring they see on Betty's finger. After singing of love at first sight ("(By the way, where'd you meet him?) I met him at the candy store/He turned around and smiled at me/You get the picture?/(Yes, we see) That's when I fell for the Leader of the Pack"), Betty's heart turns to despair as she bemoans her parents' disapproval. The parents claim Jimmy hails from "the wrong side of town" and ask Betty to tell Jimmy goodbye and find someone new. Betty reluctantly does as she is asked, and a crushed and tearful Jimmy speeds off on his motorcycle. Moments later, Betty's pleas for Jimmy to slow down are in vain as Jimmy crashes on a rain-slicked surface and dies.

text: The Shangri-Las original version[edit]

text: Recording[edit]

text: In July 1964, Morton recorded the vocals for "Leader of the Pack" with the Shangri-Las at the Ultrasonic Sound studio on the second floor of a Manhattan hotel. The song was produced by Morton. These vocals were dubbed over the instrumental parts, which had been previously recorded at the Ultrasonic Recording Studios in Hempstead, New York. Billy Joel, then a young session musician, said on November 16, 2010 during an interview with Howard Stern that he played piano on one of the demos for "Leader of the Pack," but he was not sure if any of his parts made the final recording. In fact, the piano part was played by Roger Rossi, a staff musician for Ultrasonic Recording Studios at the time. Rossi said, "I remember the date like it was yesterday, there were no written charts, so unfortunately, some musicians kept making mistakes. As I recall, it took 63 recording takes before Shadow Morton was satisfied." Rossi added, "By the end of the session, in take 62, I also messed up and Morton laughingly yelled out, 'Ohhhh, noooo. Not you, too!'" In 2007 Tony Visconti claimed that pianist Artie Butler played on the track.[4]

text: According to legend, to add the authentic sound of a motorcycle engine, one was driven through the lobby of the hotel and up to the floor of the recording studio. No one was arrested, but a ticket was issued.[5] However, in an interview four decades later, Shangri-Las lead singer Mary Weiss said the motorcycle sound was taken from an effects record. Hugh Grundy, drummer for The Zombies, recalls revving up a motorcycle backstage when the Shangri-Las performed on a U.S. tour.

text: Reception[edit]

text: "Leader of the Pack" was released as a single by Red Bird Records, a Leiber and Stoller label, and the song hit number one on the Billboard Hot 100 on November 28, 1964.[6] In the United Kingdom, the single was refused airplay by the BBC, probably due to its death theme,[7] although some have speculated that it was considered likely to encourage violence between mods and rockers.[8] It charted three times on the UK Singles Chart: number 11 in 1965;[9] number 3 in 1972[10] (by which time the BBC ban had been lifted); and once again at number 7 in 1976,[9] when its sales figures as a reissue on two different labels (Charly and Contempo) were combined to arrive at its chart position.[11] The record also reached number 1 in Australia.

text: In 2004, Rolling Stone ranked the song among the 500 Greatest Songs of All Time at number 447.[12] In the 2010 revision of the list, it was moved to number 454 as new entries were added.[13] Billboard named the song #9 on their list of 100 Greatest Girl Group Songs of All Time.[14]

text: The song is featured in a Broadway musical based on the songs of Ellie Greenwich, Leader of the Pack, which opened in 1985.[15] In 1990, the song was featured in the soundtrack of the Martin Scorsese film, Goodfellas.

text: Chart performance[edit]

text:
Chart (1965)
Peak
position

Canada Top Singles (RPM)[16]
3

New Zealand (Lever Hit Parades)[17]
1

UK Singles (Official Charts Company)[18]
11

US Billboard Hot 100[19]
1

text: Twisted Sister version[edit]

text:
"Leader of the Pack"

Single by Twisted Sister

from the album Come Out and Play

Released
1985

Format
7" single

Recorded
1985

Genre
Rock

Length
3:48

Label
Atlantic

Songwriter(s)
Dee Snider

Producer(s)
Dieter Dierks

Twisted Sister singles chronology

"The Price"
(1985)
"Leader of the Pack"
(1985)
"Be Chrool to Your Scuel"
(1985)

"The Price"
(1985)
"Leader of the Pack"
(1985)
"Be Chrool to Your Scuel"
(1985)

text: Recording[edit]

text: In 1985, the heavy metal band Twisted Sister recorded a cover version of "Leader of the Pack" from the eponymous leader's perspective.The track was included on the group's fourth studio album Come Out and Play. It was released as the album's first single and was issued on Atlantic Records. The song charted at number 53 on the Billboard Hot 100 chart and reached number 47 on the UK Singles chart.[20] In New Zealand the single reached number 45.[21]

text: Other versions[edit]

text:
On her debut album The Divine Miss M, Bette Midler did a version which began in the original tempo, sped up in the second verse, and was so fast by the end that it became difficult to understand the lyrics.
French singer Frank Alamo (1942–2012) recorded this song in French in 1965 as "Le chef de la bands".
New Zealand group When the Cat's Away released a version as their debut single.
In the U.S. television series American Dreams, the song was performed by Hilary and Haylie Duff, acting as members of the Shangri-Las.
In the 2006 movie Happy Feet, it was sung by the character Néstor, with a sad rhythm quite different from the original.
Alvin and the Chipmunks did a cover version, changing "Jimmy" to "Alvin". On the album Chipmunk Rock, the Chipmunks are portrayed as the girls.
Estonian singer Margit Viirma recorded a cover version of the song in 2009, entitled "Jõugu liider".
Seventies pop duo, The Carpenters, did a cover of the song on their first live album, Live In Japan. They performed it as part of an oldies medley in most of their concerts from 1973–1975.

text: Parodies[edit]

text:
In 1965, "Leader of the Laundromat", written by Paul Vance and Lee Pockriss, was released by The Detergents. This resulted in Morton, Barry and Greenwich filing a lawsuit for plagiarism.
The Downliners Sect also released a parody on their 1965 "Sect Sing Sick Songs" EP called "Leader Of The Sect."
Also in 1965, the parody "I Want My Baby Back" was released by Jimmy Cross.[22] In 1977, this was awarded the title of "The World's Worst Record" by British radio DJ Kenny Everett.
In 1977, EMI records released "Packer of the Leads (Leader of the Pack)" by The Roadies (Lewis 'n Luce) in the UK.[23]
In the 1982 musical Little Shop of Horrors, Ronette, one of the backup singers, says "Here he is, girls, the Leader of The Plaque" during the song "Dentist". Orin, the dentist, notably rides a motorcycle that sounds similar to that in the song.
"Jonny Don't Go", from the 1993 musical Zombie Prom, is melodically similar to, and likely a parody of, "Leader of the Pack". The song centers around Toffee, a high school senior whose parents forbid her from seeing her boyfriend Jonny because they believe him to be "no good" and force her to break up with him. She reluctantly does so, and Jonny immediately throws himself into a nuclear power plant, despite Toffee's pleas for him to stop.
British comedian Julian Clary sang a parody of "Leader of the Pack" in 1988–90 as part of his then act, The Joan Collins Fanclub. It was released as a single in the UK and reached a peak position of No.60 on the UK singles chart in the summer of 1988.[24] Clary sang the lead part from the point of view of a camp 28-year-old gay man bewailing the loss of his biker love interest in a fatal motorcycle accident.
Bob Rivers also did a parody of "Leader of the Pack" which is called 'Leader of Iraq'. The song was centered around the execution of former president of Iraq Saddam Hussein.
The tune was used by the political satire group The Capitol Steps for their song "A Leader Like Barack", about Barack Obama.
A parody version of the song ("Our leader is Lurpak") was used in a claymation TV advertisement for Lurpak butter in the UK.
In 2009, the BBC produced a trailer for the children's TV show Shaun the Sheep featuring a parody of the song called "Leader of the Flock".
Gilda Radner, Jane Curtin, and Laraine Newman did a song entitled "Chevy, Chevy" on an episode of Saturday Night Live, which has a spoken part very similar to the one in this song. Sonic the Hedgehog fans made their own parody of that song and use it from time to time.


document_title: Qatar Masters

question_text: where is the qatar masters golf tournament played

text: Qatar Masters

text:
Commercial Bank Qatar Masters

Tournament information

Location
Doha, Qatar

Established
1998

Course(s)
Doha Golf Club

Par
72

Length
7,400 yards (6,800 m)

Tour(s)
European Tour

Format
Stroke play

Prize fund
$1,750,000

Month played
February

Tournament record score

Aggregate
268 Paul Lawrie (1999)
268 Adam Scott (2008)

To par
−20 Paul Lawrie (1999)
−20 Adam Scott (2008)

Current champion

 Eddie Pepperell

text: The Commercial Bank Qatar Masters is a golf tournament held at the Doha Golf Club in Doha, Qatar. The tournament was established in 1998, and is one of five European Tour golf tournaments which are staged in the countries of the Persian Gulf, the others being the Abu Dhabi HSBC Golf Championship, the Omega Dubai Desert Classic, the Oman Open, and the DP World Tour Championship, Dubai. From 2005 to 2007 the tournament was co-sanctioned by the Asian Tour.

text: The tournament had modest fields in its early years. In 2005, Ernie Els, one of the biggest stars in golf, was the only player in the world top 50 to take part, for which he acknowledged receiving a large appearance fee. After finishing the first round in a tie for 81st place, he surged through the field over the next three days to win the tournament. By 2007, the tournament had one of the strongest fields on the European Tour, with 48 world ranking points for the winner. In 2015, the prize fund was US$2.5 million.

text: The tournament holds the European Tour record for the fewest number of shots between the halfway leaders (−6) and the cut mark (−1) – five shots in 2004.

text: Winners[edit]

text:
Year
Winner
Country
Score
To par
Margin of
victory
Runner(s)-up

Commercial Bank Qatar Masters

2018
Eddie Pepperell
 England
270
−18
1 stroke
 Oliver Fisher

2017
Wang Jeung-hun
 South Korea
272
−16
Playoff
 Joakim Lagergren
 Jaco van Zyl

2016
Branden Grace (2)
 South Africa
274
−14
2 strokes
 Rafael Cabrera-Bello
 Thorbjørn Olesen

2015
Branden Grace
 South Africa
269
−19
1 stroke
 Marc Warren

2014
Sergio García
 Spain
272
−16
Playoff
 Mikko Ilonen

2013
Chris Wood
 England
270
−18
1 stroke
 George Coetzee
 Sergio García

Commercialbank Qatar Masters

2012
Paul Lawrie (2)
 Scotland
201
−15
4 strokes
 Jason Day
 Peter Hanson

2011
Thomas Bjørn
 Denmark
274
−14
4 strokes
 Álvaro Quirós

2010
Robert Karlsson
 Sweden
273
−15
3 strokes
 Álvaro Quirós

2009
Álvaro Quirós
 Spain
269
−19
3 strokes
 Louis Oosthuizen
 Henrik Stenson

2008
Adam Scott (2)
 Australia
268
−20
3 strokes
 Henrik Stenson

2007
Retief Goosen
 South Africa
273
−15
1 stroke
 Nick O'Hern

2006
Henrik Stenson
 Sweden
273
−15
3 strokes
 Paul Broadhurst

Qatar Masters

2005
Ernie Els
 South Africa
276
−12
1 stroke
 Henrik Stenson

2004
Joakim Haeggman
 Sweden
272
−16
1 stroke
 Nobuhito Sato

2003
Darren Fichardt
 South Africa
275
−13
Playoff
 James Kingston

2002
Adam Scott
 Australia
269
−19
6 strokes
 Nick Dougherty
 Jean-François Remésy

2001
Tony Johnstone
 Zimbabwe
274
−14
2 strokes
 Robert Karlsson

2000
Rolf Muntz
 Netherlands
280
−8
5 strokes
 Ian Woosnam

1999
Paul Lawrie
 Scotland
268
−20
7 strokes
 Søren Kjeldsen
 Phillip Price

1998
Andrew Coltart
 Scotland
270
−18
2 strokes
 Andrew Sherborne
 Patrik Sjöland