document_title: Blade Runner

question_text: who played rachel in the original blade runner movie

text: Blade Runner

text: Plot[edit]

text: In 2019 Los Angeles, former police officer Rick Deckard is detained by officer Gaff, and brought to his former supervisor, Bryant. Deckard, whose job as a "blade runner" was to track down bioengineered beings known as replicants and "retire" (kill) them, is informed that four are on Earth illegally. Deckard starts to leave, but Bryant ambiguously threatens him, and he stays. The two watch a video of a blade runner named Holden administering the "Voigt-Kampff" test, which is designed to distinguish replicants from humans based on their emotional response to questions. The test subject, Leon, shoots Holden on the second question. Bryant wants Deckard to retire Leon and the other three Tyrell Corporation Nexus-6 replicants: Roy Batty, Zhora, and Pris.

text: Bryant has Deckard meet with Eldon Tyrell so he can administer the test on a Nexus-6 to see if it works. Tyrell expresses his interest in seeing the test fail first and asks him to administer it on his assistant Rachael. After a much longer than standard test, Deckard concludes that Rachael is a replicant who believes she is human. Tyrell explains that she is an experiment who has been given false memories to provide an emotional "cushion".

text: Searching Leon's hotel room, Deckard finds photos and a synthetic snake scale. Roy and Leon investigate a replicant eye-manufacturing laboratory and learn of J. F. Sebastian, a gifted genetic designer who works closely with Tyrell. Deckard returns to his apartment where Rachael is waiting. She tries to prove her humanity by showing him a family photo, but after Deckard reveals that her memories are implants from Tyrell's niece, she leaves his apartment. Meanwhile, Pris locates Sebastian and manipulates him to gain his trust.

text: A photograph from Leon's apartment and the snake scale lead Deckard to a strip club, where Zhora works. After a confrontation and chase, Deckard kills Zhora. Bryant orders him also to retire Rachael, who has disappeared from the Tyrell Corporation. After Deckard spots Rachael in a crowd, he is attacked by Leon, who knocks Deckard's pistol out of his hand, and attempts to kill Deckard, but Rachael uses Deckard's pistol to kill Leon. They return to Deckard's apartment, and, during an intimate discussion, he promises not to track her down; as she abruptly tries to leave, Deckard restrains her, making her kiss him.

text: Arriving at Sebastian's apartment, Roy tells Pris that the others are dead. Sympathetic to their plight, Sebastian reveals that because of "Methuselah Syndrome", a genetic premature aging disorder, his life will also be cut short. Sebastian and Roy gain entrance into Tyrell's secure penthouse, where Roy demands more life from his maker. Tyrell tells him that it is impossible. Roy confesses that he has done "questionable things", but Tyrell dismisses this, praising Roy's advanced design, and accomplishments in his short life. Roy kisses Tyrell, then kills him. Sebastian runs for the elevator, followed by Roy, who rides the elevator down alone.[nb 1] Deckard is later told by Bryant that Sebastian was found dead.

text: At Sebastian's apartment, Deckard is ambushed by Pris, but he kills her as Roy returns. Roy's body begins to fail as the end of his lifespan nears. He chases Deckard through the building, ending on the roof. Deckard tries to jump to an adjacent roof, but is left hanging between buildings. Roy makes the jump with ease, and as Deckard's grip loosens, Roy hoists him onto the roof, saving him. Before Roy dies, he delivers a monologue about how his memories "will be lost in time, like tears in rain". Gaff arrives and shouts to Deckard about Rachael: "It's too bad she won't live, but then again, who does?" Deckard returns to his apartment and finds Rachael asleep in his bed. As they leave, Deckard notices an origami unicorn on the floor, a calling card that recalls for him Gaff's earlier statement. Deckard and Rachael leave the apartment block.

text: Cast[edit]

text:
Harrison Ford as Rick Deckard
Rutger Hauer as Roy Batty
Sean Young as Rachael
Edward James Olmos as Gaff
M. Emmet Walsh as Harry Bryant
Daryl Hannah as Pris
William Sanderson as J. F. Sebastian
Brion James as Leon Kowalski
Joe Turkel as Dr. Eldon Tyrell
Joanna Cassidy as Zhora
James Hong as Chew
Morgan Paull as Dave Holden
Hy Pyke as Taffey Lewis

text: Themes[edit]

text: The film operates on multiple dramatic and narrative levels. It employs some of the conventions of film noir, among them the character of a femme fatale; narration by the protagonist (in the original release); chiaroscuro cinematography; and giving the hero a questionable moral outlook – extended to include reflections upon the nature of his own humanity.[8][9] It is a literate science fiction film, thematically enfolding the philosophy of religion and moral implications of human mastery of genetic engineering in the context of classical Greek drama and hubris.[10] It also draws on Biblical images, such as Noah's flood,[11] and literary sources, such as Frankenstein.[12] Linguistically, the theme of mortality is subtly reiterated in the chess game between Sebastian and Tyrell, supposedly based on the famous Immortal Game of 1851[13][unreliable source?] (though Scott has said this was merely coincidental).[14]

text: Blade Runner delves into the effects of technology on the environment and society by reaching to the past, using literature, religious symbolism, classical dramatic themes, and film noir techniques. This tension between past, present, and future is mirrored in the "retrofitted" future depicted in the film, one which is high-tech and gleaming in places but decayed and outdated elsewhere. In an interview with The Observer in 2002, director Ridley Scott described the film as "extremely dark, both literally and metaphorically, with an oddly masochistic feel". He also said that he "liked the idea of exploring pain" in the wake of his brother's death: "When he was ill, I used to go and visit him in London, and that was really traumatic for me."[15]

text:
A sense of foreboding and paranoia pervades the world of the film: corporate power looms large; the police seem omnipresent; vehicle and warning lights probe into buildings; and the consequences of huge biomedical power over the individual are explored –
especially regarding replicants' implanted memories. Control over the environment is exercised on a vast scale, and goes hand in hand with the absence of any natural life; for example, artificial animals stand in for their extinct predecessors. This oppressive backdrop explains the frequently referenced migration of humans to "off-world" (extraterrestrial) colonies.[16][unreliable source?] The dystopian themes explored in Blade Runner are an early example of the expansion of cyberpunk concepts into cinema. Eyes are a recurring motif, as are manipulated images, calling into question the nature of reality and our ability to accurately perceive and remember it.[17][unreliable source?][18][unreliable source][19]

text: These thematic elements provide an atmosphere of uncertainty for Blade Runner's central theme of examining humanity. In order to discover replicants, an empathy test is used, with a number of its questions focused on the treatment of animals – seemingly an essential indicator of one's "humanity". The replicants appear to show compassion and concern for one another and are juxtaposed against human characters who lack empathy, while the mass of humanity on the streets is cold and impersonal. The film goes so far as to question if Deckard might be an android, in the process forcing the audience to re-evaluate what it means to be human.[20]

text: The question of whether Deckard is intended to be a human or a replicant has been an ongoing controversy since the film's release.[21] Both Michael Deeley and Harrison Ford wanted Deckard to be human, while Hampton Fancher preferred ambiguity.[22] Ridley Scott has stated that in his vision, Deckard is a replicant.[23][24]

text: Deckard's unicorn-dream sequence, inserted into the Director's Cut and concomitant with Gaff's parting gift of an origami unicorn, is seen by many as showing that Deckard is a replicant – because Gaff could have retrieved Deckard's implanted memories.[12][25] The interpretation that Deckard is a replicant is challenged by others who believe the unicorn imagery shows that the characters, whether human or replicant, share the same dreams and recognize their affinity,[26] or that the absence of a decisive answer is crucial to the film's main theme.[27] The film's inherent ambiguity and uncertainty, as well as its textual richness, have permitted viewers to see it from multiple perspectives.[28]

text: Production [edit]

text: Casting[edit]

text: Casting the film proved troublesome, particularly for the lead role of Deckard. Screenwriter Hampton Fancher envisioned Robert Mitchum as Deckard and wrote the character's dialogue with Mitchum in mind.[29] Director Ridley Scott and the film's producers spent months meeting and discussing the role with Dustin Hoffman, who eventually departed over differences in vision.[29] Harrison Ford was ultimately chosen for several reasons, including his performance in the Star Wars films, Ford's interest in the Blade Runner story, and discussions with Steven Spielberg who was finishing Raiders of the Lost Ark at the time and strongly praised Ford's work in the film.[29] Following his success in films like Star Wars (1977) and Raiders of the Lost Ark (1981), Ford was looking for a role with dramatic depth.[30] According to production documents, several actors were considered for the role, including Gene Hackman, Sean Connery, Jack Nicholson, Paul Newman, Clint Eastwood, Tommy Lee Jones, Arnold Schwarzenegger, Al Pacino, and Burt Reynolds.[29]

text: One role that was not difficult to cast was Rutger Hauer as Roy Batty, the violent yet thoughtful leader of the replicants.[31] Scott cast Hauer without having met him, based solely on Hauer's performances in Paul Verhoeven's movies Scott had seen (Katie Tippel, Soldier of Orange, and Turkish Delight).[29] Hauer's portrayal of Batty was regarded by Philip K. Dick as "the perfect Batty – cold, Aryan, flawless".[32] Of the many films Hauer has made, Blade Runner is his favorite. As he explained in a live chat in 2001, "Blade Runner needs no explanation. It just [is]. All of the best. There is nothing like it. To be part of a real masterpiece which changed the world's thinking. It's awesome."[33] Hauer rewrote his character's "tears in rain" speech himself and presented the words to Scott on set prior to filming.

text: Blade Runner used a number of then-lesser-known actors: Sean Young portrays Rachael, an experimental replicant implanted with the memories of Tyrell's niece, causing her to believe she is human;[34] Nina Axelrod auditioned for the role.[29] Daryl Hannah portrays Pris, a "basic pleasure model" replicant; Stacey Nelkin auditioned for the role, but was given another part in the film, which was ultimately cut before filming.[29] Casting Pris and Rachael was challenging, requiring several screen tests with Morgan Paull playing the role of Deckard. Paull was cast as Deckard's fellow bounty hunter Holden based on his performances in the tests.[29] Brion James portrays Leon Kowalski, a combat and laborer replicant, and Joanna Cassidy portrays Zhora, an assassin replicant.

text: Edward James Olmos portrays Gaff. Olmos used his diverse ethnic background, and personal research, to help create the fictional "Cityspeak" language his character uses in the film.[35] His initial address to Deckard at the noodle bar is partly in Hungarian and means, "Horse dick [bullshit]! No way. You are the Blade ... Blade Runner."[35] M. Emmet Walsh plays Captain Bryant, a hard-drinking, sleazy, and underhanded police veteran typical of the film noir genre. Joe Turkel portrays Dr. Eldon Tyrell, a corporate mogul who built an empire on genetically manipulated humanoid slaves. William Sanderson was cast as J. F. Sebastian, a quiet and lonely genius who provides a compassionate yet compliant portrait of humanity. J. F. sympathizes with the replicants, whom he sees as companions,[36] and he shares their shorter lifespan due to his rapid aging disease.[37] Joe Pantoliano had earlier been considered for the role.[38] James Hong portrays Hannibal Chew, an elderly geneticist specializing in synthetic eyes, and Hy Pyke portrayed the sleazy bar owner Taffey Lewis – in a single take, something almost unheard-of with Scott, whose drive for perfection resulted at times in double-digit takes.[39]

text: Development[edit]

text: Interest in adapting Philip K. Dick's novel Do Androids Dream of Electric Sheep? developed shortly after its 1968 publication. Director Martin Scorsese was interested in filming the novel, but never optioned it.[40] Producer Herb Jaffe optioned it in the early 1970s, but Dick was unimpressed with the screenplay written by Herb's son Robert: "Jaffe's screenplay was so terribly done ... Robert flew down to Santa Ana to speak with me about the project. And the first thing I said to him when he got off the plane was, 'Shall I beat you up here at the airport, or shall I beat you up back at my apartment?'"[41]

text: The screenplay by Hampton Fancher was optioned in 1977.[42] Producer Michael Deeley became interested in Fancher's draft and convinced director Ridley Scott to film it. Scott had previously declined the project, but after leaving the slow production of Dune, wanted a faster-paced project to take his mind off his older brother's recent death.[43] He joined the project on February 21, 1980, and managed to push up the promised Filmways financing from US$13 million to $15 million. Fancher's script focused more on environmental issues and less on issues of humanity and religion, which are prominent in the novel and Scott wanted changes. Fancher found a cinema treatment by William S. Burroughs for Alan E. Nourse's novel The Bladerunner (1974), titled Blade Runner (a movie).[nb 2] Scott liked the name, so Deeley obtained the rights to the titles.[44] Eventually he hired David Peoples to rewrite the script and Fancher left the job over the issue on December 21, 1980, although he later returned to contribute additional rewrites.[45]

text: Having invested over $2.5 million in pre-production,[46] as the date of commencement of principal photography neared, Filmways withdrew financial backing. In ten days Deeley had secured $21.5 million in financing through a three-way deal between The Ladd Company (through Warner Bros.), the Hong Kong-based producer Sir Run Run Shaw and Tandem Productions.[47]

text: Dick became concerned that no one had informed him about the film's production, which added to his distrust of Hollywood.[48] After Dick criticized an early version of Fancher's script in an article written for the Los Angeles Select TV Guide, the studio sent Dick the Peoples rewrite.[49] Although Dick died shortly before the film's release, he was pleased with the rewritten script and with a 20-minute special effects test reel that was screened for him when he was invited to the studio. Despite his well-known skepticism of Hollywood in principle, Dick enthused to Scott that the world created for the film looked exactly as he had imagined it.[32] He said, "I saw a segment of Douglas Trumbull's special effects for Blade Runner on the KNBC-TV news. I recognized it immediately. It was my own interior world. They caught it perfectly." He also approved of the film's script, saying, "After I finished reading the screenplay, I got the novel out and looked through it. The two reinforce each other, so that someone who started with the novel would enjoy the movie and someone who started with the movie would enjoy the novel."[50] The motion picture was dedicated to Dick.[51] Principal photography of Blade Runner began on March 9, 1981, and ended four months later.[52]

text: In 1992, Ford revealed, "Blade Runner is not one of my favorite films. I tangled with Ridley."[53] Apart from friction with the director, Ford also disliked the voiceovers: "When we started shooting it had been tacitly agreed that the version of the film that we had agreed upon was the version without voiceover narration. It was a f**king [sic] nightmare. I thought that the film had worked without the narration. But now I was stuck re-creating that narration. And I was obliged to do the voiceovers for people that did not represent the director's interests."[30] "I went kicking and screaming to the studio to record it."[54] The narration monologues were written by an uncredited Roland Kibbee.[55]

text: In 2006, Scott was asked "Who's the biggest pain in the arse you've ever worked with?", he replied: "It's got to be Harrison ... he'll forgive me because now I get on with him. Now he's become charming. But he knows a lot, that's the problem. When we worked together it was my first film up and I was the new kid on the block. But we made a good movie."[56] Ford said of Scott in 2000: "I admire his work. We had a bad patch there, and I'm over it."[57] In 2006 Ford reflected on the production of the film saying: "What I remember more than anything else when I see Blade Runner is not the 50 nights of shooting in the rain, but the voiceover ... I was still obliged to work for these clowns that came in writing one bad voiceover after another."[58] Ridley Scott confirmed in the summer 2007 issue of Total Film that Harrison Ford contributed to the Blade Runner Special Edition DVD, and had already recorded his interviews. "Harrison's fully on board", said Scott.[59]

text: The Bradbury Building in downtown Los Angeles served as a filming location, and a Warner Bros. backlot housed the 2019 Los Angeles street sets. Other locations included the Ennis-Brown House and the 2nd Street Tunnel. Test screenings resulted in several changes, including adding a voice-over, a happy ending, and the removal of a Holden hospital scene. The relationship between the filmmakers and the investors was difficult, which culminated in Deeley and Scott being fired but still working on the film.[60] Crew members created T-shirts during filming saying, "Yes Guv'nor, My Ass" that mocked Scott's unfavorable comparison of U.S. and British crews; Scott responded with a T-shirt of his own, "Xenophobia Sucks" making the incident known as the T-shirt war.[61][62]

text: Design[edit]

text: Ridley Scott credits Edward Hopper's painting Nighthawks and the French science fiction comics magazine Métal Hurlant, to which the artist Jean "Moebius" Giraud contributed, as stylistic mood sources.[63] He also drew on the landscape of "Hong Kong on a very bad day"[64] and the industrial landscape of his one-time home in northeast England.[65] The visual style of the movie is influenced by the work of futurist Italian architect Antonio Sant'Elia.[66] Scott hired Syd Mead as his concept artist; like Scott, he was influenced by Métal Hurlant.[67] Moebius was offered the opportunity to assist in the pre-production of Blade Runner, but he declined so that he could work on René Laloux's animated film Les Maîtres du temps – a decision that he later regretted.[68] Production designer Lawrence G. Paull and art director David Snyder realized Scott's and Mead's sketches. Douglas Trumbull and Richard Yuricich supervised the special effects for the film, and Mark Stetson served as chief model maker.[69]

text: Blade Runner has numerous deep similarities to Fritz Lang's Metropolis, including a built-up urban environment, in which the wealthy literally live above the workers, dominated by a huge building – the Stadtkrone Tower in Metropolis and the Tyrell Building in Blade Runner. Special effects supervisor David Dryer used stills from Metropolis when lining up Blade Runner's miniature building shots.[70]

text: The extended end scene in the original theatrical release shows Rachael and Deckard traveling into daylight with pastoral aerial shots filmed by director Stanley Kubrick. Ridley Scott contacted Kubrick about using some of his surplus helicopter aerial photography from The Shining.[71][72][73]

text: Spinner[edit]

text: "Spinner" is the generic term for the fictional flying cars used in the film. A spinner can be driven as a ground-based vehicle, and take off vertically, hover, and cruise much like vertical take-off and landing (VTOL) aircraft. They are used extensively by the police as patrol cars, and wealthy people can also acquire spinner licenses.[74] The vehicle was conceived and designed by Syd Mead who described the spinner as an "aerodyne" – a vehicle which directs air downward to create lift, though press kits for the film stated that the spinner was propelled by three engines: "conventional internal combustion, jet, and anti-gravity"[75] A spinner is on permanent exhibit at the Science Fiction Museum and Hall of Fame in Seattle, Washington.[76] Mead's conceptual drawings were transformed into 25 vehicles by automobile customizer Gene Winfield; at least two were working ground vehicles, while others were light-weight mockups for crane shots and set decoration for street shots.[77] Two of them ended up at Disney World in Orlando, Florida, but were later destroyed, and a few others remain in private collections.[77]

text: Voigt-Kampff machine[edit]

text:
A very advanced form of lie detector that measures contractions of the iris muscle and the presence of invisible airborne particles emitted from the body. The bellows were designed for the latter function and give the machine the menacing air of a sinister insect. The VK is used primarily by Blade Runners to determine if a suspect is truly human by measuring the degree of his empathic response through carefully worded questions and statements.
 –  Description from the original press kit.

tag: div

text: The Voigt-Kampff machine is a fictional interrogation tool, originating from the novel. The Voigt-Kampff is a polygraph-like machine used by blade runners to determine whether an individual is a replicant. It measures bodily functions such as respiration, blush response, heart rate and eye movement in response to questions dealing with empathy.[78] (Tyrell states: "Capillary dilation of the so-called blush response? Fluctuation of the pupil? Involuntary dilation of the iris?") In the film, two replicants – Leon and Rachael – take the test.  Deckard tells Tyrell that it usually takes 20 to 30 cross-referenced questions to distinguish a replicant; in contrast with the book, where it is stated it only takes six or seven questions to make a determination. In the film, it takes more than a hundred questions to determine that Rachael is a replicant.

text: Music[edit]

text: The Blade Runner soundtrack by Vangelis is a dark melodic combination of classic composition and futuristic synthesizers which mirrors the film-noir retro-future envisioned by Ridley Scott. Vangelis, fresh from his Academy Award-winning score for Chariots of Fire,[79] composed and performed the music on his synthesizers.[80] He also made use of various chimes and the vocals of collaborator Demis Roussos.[81] Another memorable sound is the haunting tenor sax solo "Love Theme" by British saxophonist Dick Morrissey, who performed on many of Vangelis's albums. Ridley Scott also used "Memories of Green" from the Vangelis album See You Later, an orchestral version of which Scott would later use in his film Someone to Watch Over Me.[82]

text: Along with Vangelis' compositions and ambient textures, the film's soundscape also features a track by the Japanese ensemble Nipponia – "Ogi no Mato" or "The Folding Fan as a Target" from the Nonesuch Records release Traditional Vocal and Instrumental Music – and a track by harpist Gail Laughton from "Harps of the Ancient Temples" on Laurel Records.[83]

text: Despite being well received by fans and critically acclaimed and nominated in 1983 for a BAFTA and Golden Globe as best original score, and the promise of a soundtrack album from Polydor Records in the end titles of the film, the release of the official soundtrack recording was delayed for over a decade. There are two official releases of the music from Blade Runner. In light of the lack of a release of an album, the New American Orchestra recorded an orchestral adaptation in 1982 which bore little resemblance to the original. Some of the film tracks would, in 1989, surface on the compilation Vangelis: Themes, but not until the 1992 release of the Director's Cut version would a substantial amount of the film's score see commercial release.[81]

text: These delays and poor reproductions led to the production of many bootleg recordings over the years. A bootleg tape surfaced in 1982 at science fiction conventions and became popular given the delay of an official release of the original recordings, and in 1993 "Off World Music, Ltd" created a bootleg CD that would prove more comprehensive than Vangelis' official CD in 1994.[81] A set with three CDs of Blade Runner-related Vangelis music was released in 2007. Titled Blade Runner Trilogy, the first disc contains the same tracks as the 1994 official soundtrack release, the second features previously unreleased music from the movie, and the third disc is all newly composed music from Vangelis, inspired by, and in the spirit of the movie.[84]

text: Special effects[edit]

text: The film's special effects are generally recognized to be among the best of all time,[85][86][87] using the available (non-digital) technology to the fullest. In addition to matte paintings and models, the techniques employed included multipass exposures. In some scenes, the set was lit, shot, the film rewound, and then rerecorded over with different lighting. In some cases this was done 16 times in all. The cameras were frequently motion controlled using computers.[86] Many effects used techniques which had been developed during the production of Close Encounters of the Third Kind.[88]

text: Release[edit]

text: Blade Runner was released in 1,290 theaters on June 25, 1982. That date was chosen by producer Alan Ladd Jr. because his previous highest-grossing films (Star Wars and Alien) had a similar opening date (May 25) in 1977 and 1979, making the 25th of the month his "lucky day".[89] Blade Runner grossed reasonably good ticket sales in its opening weekend; earning $6.1 million during its first weekend in theaters.[90] The film was released close to other major science-fiction and fantasy releases such as The Thing, Star Trek II: The Wrath of Khan, Conan the Barbarian and E.T. the Extra-Terrestrial, which affected its commercial success.[91]

text: Critical reception[edit]

text: Initial reactions among film critics were mixed. Some wrote that the plot took a back seat to the film's special effects, and did not fit the studio's marketing as an action/adventure movie. Others acclaimed its complexity and predicted it would stand the test of time.[92] Negative criticism in the United States cited its slow pace.[93] Sheila Benson from the Los Angeles Times called it "Blade Crawler", and Pat Berman in The State and Columbia Record described it as "science fiction pornography".[94] Pauline Kael praised Blade Runner as worthy of a place in film history for its distinctive sci-fi vision, yet criticized the film's lack of development in "human terms".[95]

text: Academics began writing analyses of the film almost as soon as it was released,[96] and the boom in home video formats helped establish a growing cult around the film,[97] which scholars have dissected for its dystopic aspects, its questions regarding "authentic" humanity, its ecofeminist aspects,[98] and its use of conventions from multiple genres.[99] Popular culture began to reassess its impact as a classic several years after it was released.[100][101][102] Roger Ebert praised the visuals of both the original and the Director's Cut versions and recommended it for that reason; however, he found the human story clichéd and a little thin.[31] He later added The Final Cut to his "Great Movies" list.[103] Critic Chris Rodley and Janet Maslin theorized that Blade Runner changed cinematic and cultural discourse through its image repertoire, and subsequent influence on films.[104] In 2012, Time film critic Richard Corliss surgically analyzed the durability, complexity, screenplay, sets and production dynamics from a personal, three-decade perspective.[105] On review aggregator Rotten Tomatoes, Blade Runner holds an approval rating of 90% based on 108 reviews, with an average rating of 8.5/10. The site's critical consensus reads, "Misunderstood when it first hit theaters, the influence of Ridley Scott's mysterious, neo-noir Blade Runner has deepened with time. A visually remarkable, achingly human sci-fi masterpiece."[106] Metacritic, another review aggregator, assigned the film a weighted average score of 89 out of 100, based on 11 critics, indicating "universal acclaim".[107] Denis Villeneuve, who directed the sequel, Blade Runner 2049, cites the film as a huge influence for him and many others.[102]

text: Accolades[edit]

text: Blade Runner won or received nominations for the following awards:[108]

text:
Year
Award
Category
Nominee
Result

1982

British Society of Cinematographers

Best Cinematography

Jordan Cronenweth

Nominated

Los Angeles Film Critics Association

Best Cinematography

Won

1983

British Academy Film Awards

Best Cinematography

Won

Best Costume Design

Charles Knode and Michael Kaplan

Won

Best Editing

Terry Rawlings

Nominated

Best Film Music

Vangelis

Nominated

Best Makeup and Hair

Marvin Westmore

Nominated

Best Production Design

Lawrence G. Paull

Won

Best Sound

Peter Pennell, Bud Alper, Graham V. Hartstone, and Gerry Humphreys

Nominated

Best Special Visual Effects

Douglas Trumbull, Richard Yuricich, and David Dryer

Nominated

Hugo Award

Best Dramatic Presentation

Blade Runner

Won

London Film Critics' Circle

Special Achievement Award

Lawrence G. Paull, Douglas Trumbull, and Syd Mead

Won

Golden Globe Awards

Best Original Score – Motion Picture

Vangelis

Nominated

Academy Awards

Best Art Direction-Set Decoration

Lawrence G. Paull, David Snyder, and Linda DeScenna

Nominated

Best Effects, Visual Effects

Douglas Trumbull, Richard Yuricich, and David Dryer

Nominated

Saturn Award

Best Director

Ridley Scott

Nominated

Best Science Fiction Film

Blade Runner

Nominated

Best Special Effects

Douglas Trumbull and Richard Yuricich

Nominated

Best Supporting Actor

Rutger Hauer

Nominated

Fantasporto

International Fantasy Film Award

Ridley Scott

Nominated

text: Versions[edit]

text: Several versions of Blade Runner have been shown. The original workprint version (1982, 113 minutes) was shown for audience test previews in Denver and Dallas in March 1982. Negative responses to the previews led to the modifications resulting in the U.S. theatrical version.[109][110] The workprint was shown as a director's cut without Scott's approval at the Los Angeles Fairfax Theater in May 1990, at an AMPAS showing in April 1991, and in September and October 1991 at the Los Angeles NuArt Theater and the San Francisco Castro Theatre.[111] Positive responses pushed the studio to approve work on an official director's cut.[112] A San Diego Sneak Preview was shown only once, in May 1982, and was almost identical to the U.S. theatrical version but contained three extra scenes not shown in any other version, including the 2007 Final Cut.[113]

text: Two versions were shown in the film's 1982 theatrical release: the U.S. theatrical version (117 minutes),[1] known as the original version or Domestic Cut (released on Betamax, CED Videodisc and VHS in 1983, and on LaserDisc in 1987), and the International Cut (117 minutes), also known as the "Criterion Edition" or "uncut version", which included more violent action scenes than the U.S. version. Although initially unavailable in the U.S. and distributed in Europe and Asia via theatrical and local Warner Home Video Laserdisc releases, the International Cut was later released on VHS and Criterion Collection Laserdisc in North America, and re-released in 1992 as a "10th Anniversary Edition".[114]

text: Ridley Scott's Director's Cut (1991, 116 minutes)[115] was made available on VHS and Laserdisc in 1993, and on DVD in 1997. Significant changes from the theatrical version include the removal of Deckard's voice-over; the re-insertion of the unicorn sequence, and the removal of the studio-imposed happy ending. Scott provided extensive notes and consultation to Warner Bros. through film preservationist Michael Arick, who was put in charge of creating the Director's Cut.[116] Scott's The Final Cut (2007, 117 minutes)[117] was released by Warner Bros. theatrically on October 5, 2007, and subsequently released on DVD, HD DVD, and Blu-ray Disc in December 2007.[118] This is the only version over which Scott had complete artistic and editorial control.[116]

text:
Year
Award
Category
Nominee
Result

1993

Fantasporto

International Fantasy Film Award

Best Film – Ridley Scott (Director's Cut)

Nominated

1994

Saturn Award

Best Genre Video Release

Blade Runner (Director's Cut)

Nominated

2008

Saturn Award

Best DVD Special Edition Release

Blade Runner (5-Disc Ultimate Collector's Edition)

Won

text: Legacy[edit]

text: Cultural impact[edit]

text: While not initially a success with North American audiences, Blade Runner was popular internationally and garnered a cult following.[119] The film's dark style and futuristic designs have served as a benchmark and its influence can be seen in many subsequent science fiction films, video games, anime, and television programs.[8] For example, Ronald D. Moore and David Eick, the producers of the re-imagining of Battlestar Galactica, have both cited Blade Runner as one of the major influences for the show.[120]

text: The film was selected for preservation in the United States National Film Registry in 1993 and is frequently taught in university courses.[121] In 2007, it was named the second-most visually influential film of all time by the Visual Effects Society.[122] The film has also been the subject of parody, such as the comics Blade Bummer by Crazy comics,[123] Bad Rubber by Steve Gallacci,[124] and the Red Dwarf 2009 three-part miniseries "Back to Earth".[125][126]

text: Blade Runner continues to reflect modern trends and concerns, and an increasing number of critics consider it one of the greatest science fiction films of all time.[127] It was voted the best science fiction film ever made in a 2004 poll of 60 eminent world scientists.[128] Blade Runner is also cited as an important influence to both the style and story of the Ghost in the Shell film series, which itself has been highly influential to the future-noir genre.[129][130] Blade Runner has been very influential to the cyberpunk movement.[131][132][133][134] It also influenced the cyberpunk derivative biopunk, which revolves around biotechnology and genetic engineering.[135][136]

text: The dialogue and music in Blade Runner has been sampled in music more than any other film of the 20th century.[137][nb 3]

text: The 2009 album I, Human by Singaporean band Deus Ex Machina makes numerous references to the genetic engineering and cloning themes from the film, and even features a track titled "Replicant".[138]

text: Blade Runner is cited as a major influence on Warren Spector,[139] designer of the video game Deus Ex, which displays evidence of the film's influence in both its visual rendering and plot. Indeed, the film's look – and in particular its overall darkness, preponderance of neon lights, and opaque visuals – are easier to render than complicated backdrops, making it a popular reference point for video game designers.[140][141] It has influenced adventure games such as the 2012 graphical text adventure Cypher;[142] Rise of the Dragon;[143][144] Snatcher;[144][145] the Tex Murphy series;[146] Beneath a Steel Sky;[147] Flashback: The Quest for Identity;[144] Bubblegum Crisis (and its original anime films);[148][149] the role-playing game Shadowrun;[144] the first-person shooter Perfect Dark,[150] and the Syndicate series of video games.[151][152]

text: Among the folklore that has developed around the film over the years, there is a belief that Blade Runner cursed the companies whose logos were displayed prominently as product placement.[153] While they were market leaders at the time, Atari, Bell, Cuisinart, and Pan Am all experienced setbacks after the film's release.[13]

text: Media recognitions for Blade Runner include:

text:
Year

Presenter

Title

Rank

Notes

2001

The Village Voice

100 Best Films of the 20th Century

94

[154]

2002

Online Film Critics Society (OFCS)

Top 100 Sci-fi Films of the Past 100 Years

2

[155]

Sight & Sound

Sight & Sound Top Ten Poll 2002

45

[156]

50 Klassiker, Film

None

[157]

2003

1001 Movies You Must See Before You Die

[158]

Entertainment Weekly

The Top 50 Cult Movies

9

[159]

2004

The Guardian, Scientists

Top 10 Sci-fi Films of All Time

1

[160][161][162]

2005

Total Film's Editors

100 Greatest Movies of All Time

47

[163]

Time Magazine's Critics

"All-Time 100" Movies

None

[164][165][166]

2008

New Scientist

All-time favorite science fiction film (readers and staff)

1

[167][168]

Empire

The 500 Greatest Movies of All Time

20

[169]

2010

IGN

Top 25 Sci-Fi Movies of All Time

1

[170]

Total Film

100 Greatest Movies of All Time

None

[171]

2012

Sight & Sound

Sight & Sound 2012 critics top 250 films

69

[172]

Sight & Sound

Sight & Sound 2012 directors top 100 films

67

[173]

2014

Empire

The 301 Greatest Movies Of All Time

11

[174]

text: American Film Institute recognition[edit]

text:
AFI's 100 Years...100 Thrills – No. 74
AFI's 100 Years...100 Movies (10th Anniversary Edition) – No. 97
AFI's 10 Top 10 – No. 6 Science Fiction Film

text: In other media[edit]

text: Before filming began, Cinefantastique magazine commissioned Paul M. Sammon to write an article about Blade Runner's production which became the book Future Noir: The Making of Blade Runner.[175][unreliable source?] The book chronicles Blade Runner's evolution, focusing on film-set politics, especially the British director's experiences with his first American film crew; of which producer Alan Ladd, Jr. has said, "Harrison wouldn't speak to Ridley and Ridley wouldn't speak to Harrison. By the end of the shoot Ford was 'ready to kill Ridley', said one colleague. He really would have taken him on if he hadn't been talked out of it."[176] Future Noir has short cast biographies and quotations about their experiences, and photographs of the film's production and preliminary sketches. A second edition of Future Noir was published in 2007, and additional materials not in either print edition have been published online.[177]

text: Philip K. Dick refused a $400,000 offer to write a Blade Runner novelization, saying: "[I was] told the cheapo novelization would have to appeal to the twelve-year-old audience" and it "would have probably been disastrous to me artistically". He added, "That insistence on my part of bringing out the original novel and not doing the novelization – they were just furious. They finally recognized that there was a legitimate reason for reissuing the novel, even though it cost them money. It was a victory not just of contractual obligations but of theoretical principles."[50] Do Androids Dream of Electric Sheep? was eventually reprinted as a tie-in, with the film poster as a cover and the original title in parentheses below the Blade Runner title.[178] Additionally, a novelization of the movie entitled Blade Runner: A Story of the Future by Les Martin was released in 1982.[179] Archie Goodwin scripted the comic book adaptation, A Marvel Super Special: Blade Runner, published in September 1982, which was illustrated by Al Williamson, Carlos Garzon, Dan Green, and Ralph Reese, and lettered by Ed King.[180]

text: There are two video games based on the film, both titled Blade Runner: one from 1985, an action-adventure side-scroller for Commodore 64, Sinclair ZX Spectrum, and Amstrad CPC by CRL Group PLC, marked as based on the music by Vangelis rather than the film itself (due to licensing issues); and another from 1997, a point-and-click adventure by Westwood Studios. The 1997 video game featured new characters and branching storylines based on the Blade Runner world. Eldon Tyrell, Gaff, Leon, Rachael, Chew, and J. F. Sebastian appear, and their voice files are recorded by the original actors.[181] The player assumes the role of McCoy, another replicant-hunter working at the same time as Deckard.[140][141][181][unreliable source?]

text: The PC game featured a non-linear plot, non-player characters that each ran in their own independent AI, and an unusual pseudo-3D engine (which eschewed polygonal solids in favor of voxel elements) that did not require the use of a 3D accelerator card to play the game.[182]

text: The television film (and later series) Total Recall 2070 was initially planned as a spin-off of the film Total Recall (based on Philip K. Dick's short story "We Can Remember It for You Wholesale"), but was produced as a hybrid of Total Recall and Blade Runner.[183] Many similarities between Total Recall 2070 and Blade Runner were noted, as well as apparent influences on the show from Isaac Asimov's The Caves of Steel and the TV series Holmes & Yoyo.[184]

text: Documentaries[edit]

text: The film has been the subject of several documentaries.

text: Sequels and related media[edit]

text: A direct sequel was released in 2017, titled Blade Runner 2049, with Ryan Gosling in the starring role.[188][189] The film entered production in mid-2016, is set decades after the first film,[190] and saw Harrison Ford reprise his role as Rick Deckard.

text: Dick's friend K. W. Jeter wrote three authorized Blade Runner novels that continue Rick Deckard's story, attempting to resolve the differences between the film and Do Androids Dream of Electric Sheep?[191] These are Blade Runner 2: The Edge of Human (1995), Blade Runner 3: Replicant Night (1996), and Blade Runner 4: Eye and Talon (2000)

text: Blade Runner cowriter David Peoples wrote the 1998 action film Soldier, which he referred to as a "sidequel" or spiritual successor to the original film; the two are set in a shared universe.[192] A bonus feature on the DVD for Prometheus, the 2012 film by Scott set in the Alien and Predator universe, states that Eldon Tyrell, CEO of the Blade Runner Tyrell Corporation, was the mentor of Guy Pearce's character Peter Weyland.[193]


document_title: Drop Dead Diva (season 6)

question_text: who does jane in drop dead diva end up with

root

text: Drop Dead Diva (season 6)

text: Cast[edit]

text: Main cast[edit]

text:
Brooke Elliott as Jane Bingum (13 episodes)
Margaret Cho as Teri Lee (7 episodes)
Jackson Hurst as Grayson Kent (11 episodes)
Kate Levering as Kim Kaswell (10 episodes)
April Bowlby as Stacy Barrett (13 episodes)
Lex Medlin as Judge Owen French (13 episodes)
Justin Deeley as Paul (9 episodes)

tag: ul

text: Recurring cast[edit]

text:
Jeffrey Pierce as Ian Holt/Grayson Kent (4 episodes)
Kenny Alfonso as Joe Cummings (4 episodes)
Victor McCay as Judge Halloran (4 episodes)
Rhoda Griffis as Paula Dewey (3 episodes)
Gregory Alan Williams as Judge Warren Libby (3 episodes)
Virginia Williams as Belinda Scotto (2 episodes)
Mike Faiola as Dave (2 episodes)

text: Guest stars[edit]

text:
Colin Egglesfield as Charlie French (1 episode)
Corbin Bleu as Michael Donaldson (1 episode)
Stephen "tWitch" Boss as Billy Donaldson (1 episode)
Rick Springfield as Liam Matthews (1 episode)
Janel Parrish as Chelsea Jones (1 episode)
Roma Maffia as Judge Eileen Sears (1 episode)
Ben Feldman as Fred (1 episode)
Becca Tobin as Empress Katia (1 episode)
Terry Fator as Greg Gerlin (1 episode)
David Mazouz as Ryan Hatcher (1 episode)

text: Production[edit]

text: On October 25, 2013, Lifetime and Sony Pictures TV renewed the series for a sixth season, which premiered on March 23, 2014.[4][2] Colin Egglesfield, Virginia Williams, and Corbin Bleu guest starred in the season premiere while Rick Springfield and Jay DeMarcus guest starred later in the season. S. Epatha Merkerson and John Ratzenberger reprised their roles.[5] Stephen "tWitch" Boss guest starred as Billy Donaldson, a man who hires Jane to help his brother, in the second episode.[6] Janel Parrish will guest star in the fifth episode as a cheerleader who finds internet fame after her on-field meltdown becomes a viral video.[7]

tag: p

text: Episodes[edit]

text:
No.overallNo. inseasonTitleDirected byWritten byOriginal air dateU.S. viewers(millions)661"Truth & Consequences"Robert J. WilsonJosh BermanMarch 23, 2014 (2014-03-23)1.11[8]
Jane represents a lunch lady claiming the school board is refusing to feed poor children. When Jane takes the case to the press, it turns out that her client is actually a wanted war protestor living under a new identity and Jane has to defend her. In the end, Jane manages to get her client's charges reduced from grand larceny to petty larceny and the woman is sentenced to three years in jail rather than twenty-five. The client sells the movie rights for her life and donates the money to fund her school's hot lunch program. Owen's wayward brother Charlie (Colin Egglesfield) drops by the office, claiming he was robbed at a strip club but the club is suing him for defamation after he complained on a website. Owen reluctantly helps, but learns there is more to the case than it seems which results in both Owen and Charlie facing larceny charges. Jane is able to pull some strings and get the charges against Owen dropped and Owen cuts off all contact with Charlie. Stacy goes on a date with Charlie before realizing he's Owen's brother. Jane finally comes clean to tell Grayson she is really Deb.
672"Soulmates?"Michael GrossmanAmy Engelberg & David FeigeMarch 23, 2014 (2014-03-23)1.16[8]
A new attorney named Belinda is hired to take the place of Kim while she's on maternity leave. She and Grayson work together to represent a couple who suffered through a horrible sea cruise on a ship adrift for a week without power and are now going through a divorce as a result. The tables are turned when the couple is accused of piracy after admitting to stealing from the ship's food locker. The judge ultimately throws the piracy out as ridiculous while the trial brings the couple back together. In the end, Grayson figures out that the ship was in Mexican waters when the horrible events occurred and the case thus falls under the jurisdiction of Mexican law which matches American law in this case, forcing the cruise line to settle. While defending a man serving time for setting a fire that killed a store owner's wife, Jane clashes with the case's original judge: Owen. Eventually, Jane discovers evidence that the real killer is the victim's husband and presents it to the parole board. Having been convinced that he might be wrong by Jane's passion for the case, Owen arrives with further proof that results in the husband being arrested and the client being immediately released. Furthermore, Owen promises to personally take care of getting the man completely exonerated in the eyes of the law. Grayson tells Jane he is ready to date her as herself, stating that as far as he's concerned, Deb is dead.
683"First Date"Robert J. WilsonJeffrey Lippman & Wendy EngelbergMarch 30, 2014 (2014-03-30)1.25[9]
Belinda and Jane defend rock star Liam Matthews (Rick Springfield), accused of wrecking a hotel room, and they manage to cut a deal for him. But when Liam's band fires him over his reckless behavior, Jane helps him out only to have Belinda become furious over Jane's plan. When Belinda's interference grows, Jane persuades Kim to return to the firm early. Ultimately, after a car accident Liam is revealed to have early onset Parkinson's disease, the true source of his erratic behavior. The band's manager hid the truth from Liam and his bandmates to avoid paying more for insurance and in an attempt to get Liam kicked out of the band. After Jane reveals this in court, the manager is arrested for felony reckless endangerment as his actions have prevented Liam from getting needed treatment. Liam is exonerated and reconciles with his bandmates. Grayson takes on a developer planning to tear down a rent-controlled apartment building and evict its tenants. Grayson makes the case that graffiti from a famous artist on a building wall makes it an historic landmark. At the end of the episode, Grayson and Terri discover that the graffiti artist, whose real identity has always been unknown, was in fact their client. Rather than cash in on a small painting the artist left him, Grayson chooses to frame it. Jane and Grayson prepare for their first date.
694"Life & Death"Michael GrossmanJosh Berman & Marty ScottApril 6, 2014 (2014-04-06)1.39[10]
Still reeling over knowing that Jane is Deb, Grayson is tense when they represent a friend of his who wants to bury his late wife in her backyard garden, while her parents insist on burying her in their family mausoleum. Jane comes up with an idea to help with the compromise: turning the home into a church. Jane and Grayson decide to join the new church and the man wins his case when he convinces his in-laws to join him as well so they can all honor his wife together. Kim meets a 12-year-old foster child (David Mazouz) who wants to be adopted, and she and Owen discover much red tape while trying to find him a family. Eventually a woman steps forward to help Owen and Kim locate the boy's birth father that leads to an emotional meeting between the boy and his father. Though his father's help will assist his adoption, the boy changes his mind in favor of living with his father. Teri helps Paul when his decision to buy a new car lands him in legal trouble.
705"Cheers & Jeers"Robert J. WilsonJeffrey Lippman & David FeigeApril 13, 2014 (2014-04-13)1.08[11]
Jane represents a cheerleader who had a public meltdown after being bullied by her teammates, but Jane later finds out she might be getting played by the supposed victim. Owen and Grayson help a couple whose inability to pay the city government a $75,000 fee for removal of a speed bump the father had installed might cost them their home. After several dead ends, Owen suggests that the family secede from the United States. When Paul gets into heavy credit card debt, Teri risks her job by posing as his lawyer. Jane worries about taking the next step with Grayson.
716"Desperate Housewife"Michael GrossmanAmy Engelberg & Wendy EngelbergApril 27, 2014 (2014-04-27)1.32[12]
Grayson and Jane are assigned a case of a seemingly mild-mannered woman whose lawsuit involves national security. Their case is difficult when they are refused information on just what their client has done. With Paul's help, they are able to track down a man who may have been guilty of framing their client. Kim represents four children who were adopted by a couple just before a home makeover show gave them a free renovation, but kicked the children back into the foster system shortly after. Kim realizes the couple were just using the children to get the makeover, and tries to find a way to sue them for damages despite the fact that the children have no legal standing. The children's grandmother steps forward along with the producers and helps Kim exposes the couple for their actions. Kim makes it clear to the couple that unless they want to be charged for fraud and lose their remaining assets, they better give up the renovated home to the children's grandmother. Stacy becomes convinced her baby might be evil, but Jane helps her realize that her baby will be twins.
727"Sister Act"Robert J. WilsonJosh Berman & Marty ScottMay 4, 2014 (2014-05-04)1.51[13]
Jane represents a girl who needs a bone marrow transplant. It leads to complications as a nun who had promised the marrow is discovered to be pregnant and so Jane begins searching for another donor via the girl's sperm donor father. With Stacy's help she tracks down the girl's possible half-sister and goes up against the mother when she refuses. Jane looks forward to getting Teri out of jail until she's informed she has to fire her. Kim gets Stacy to babysit her infant. Owen represents a mayor who is being impeached for allowing schoolless children to stay at City Hall, the woman driven to change her ways by a terminal cancer diagnosis but complications ensue. Jane blurts "I love you" to Grayson and is afraid of where to go after that.
738"Identity Crisis"Robert J. WilsonDavid Feige & Amy EngelbergMay 11, 2014 (2014-05-11)1.20[14]
Jane wants to tell Grayson about Paul being her angel but is warned if she does, Paul will have to leave with no one but Jane remembering him. Grayson must defend a client who confessed to murder after a hard interrogation. Jane represents a transgender teen who wanted to use the boys' bathroom at his school. Stacy is concerned over Owen being too generous wanting to raise the twins. When she complains about it, Owen proposes to her and Stacy accepts. Grayson discovers his client is guilty and refuses to give evidence that would clear him. However, Owen overrules him to do so believing the man is innocent. As the man goes free, the father of the woman he murdered tries to shoot him but ends up hitting Grayson instead as a horrified Jane looks on. Owen realizes Grayson's reasons for his refusal too late and regrets making him testify when he learns from Jane that the man was guilty of the murder.
749"Hope and Glory"Bethany RooneyJeffrey Lippman & Wendy EngelbergMay 18, 2014 (2014-05-18)1.29[15]
Grayson confides in Stacy while in the hospital that he is going to propose to Jane after his near-death experience makes him re-evaluate his life. Jane represents a community who is getting sick from the hot pepper fumes coming from a nearby hot sauce factory, but after getting the factory shut down, things get complicated when it's discovered the hot pepper fumes were not the underlying cause of the sicknesses, landing Jane and the firm in legal trouble, and fighting against the state. However, Paul and Owen help Jane out by procuring evidence against Toxic Control with a temporary permit back in 1984, the judge orders the group to clean up the site, provide fresh water for the residents and reopens the hot sauce factory(per Jane's recommendations). When Kim's father is remarried, her mother complains he used their old wedding ring for his new bride. Owen helps Kim out only to have it revealed that technically her parents were never legally divorced and are each guilty of bigamy. When Jane goes to check Grayson out of the hospital, the bullet in his chest causes complications, but despite efforts by the hospital staff to save him, he is pronounced dead.
7510"No Return"Michael GrossmanJosh Berman & Marty ScottJune 1, 2014 (2014-06-01)1.69[16]
Jane deals with the death of Grayson as Kim presses Owen to hire a new lawyer. Kim represents a ventriloquist who had his frequent flyer miles revoked after his puppet is banned from flying. With Paul's help, Kim exposes the airline for using the hit list to poach their clientele. Jane represents a client of Grayson's in a defamation case that has her tackling some corrupt cops. Grayson meets Jane's old guardian angel Fred in Heaven, and pleads for his help to get him back to Jane. Stacy is feeling hurt and betrayed that Owen lied to her. However, Jane convinces her to give him a break and just enjoy their time together. In the end, Grayson hits the return button with Fred's help and calls Jane to let her know he's back...in the body of a convict.
7611"Afterlife"Dwight LittleMarty Scott & Tyler DinucciJune 8, 2014 (2014-06-08)1.50[17]
Grayson is returned to Earth in the body of Ian Holt, a death row inmate who was executed for murder two minutes earlier. Jane must try to prove his innocence to save his life before he is executed once again the following day. However, they run into problems due to Grayson having no memories of whether Ian is guilty or not. Kim represents an inner-city dance troupe who claim a major pop star, Empress Katia, stole their dance routines. Kim soon learns of Katia's guilt in not properly crediting the original creators and she is forced to pay a hefty fine. Stacy becomes concerned about Owen having anxiety attacks at the mere mention of their wedding, especially when one of the attacks lands him in the hospital. After proving Ian was innocent and framed, Jane and Ian share a kiss in her house. Unbeknownst to them, they are seen by Stacy (who knows Ian is Grayson) and Owen (who does not).
7712"Hero"J. Miller TobinEric BuchmanJune 15, 2014 (2014-06-15)1.50[18]
Owen is upset about Jane becoming romantic with "Ian" so soon after Grayson's death, while Grayson has trouble adjusting to his new life as Ian. Jane sues a football camp on behalf of a mother whose son died during training. Kim is saved from a mugging by a man dressed as a superhero, who turns out to be a courtroom bailiff she knows well. She repays the favor by defending the man when the mugger sues him for assault, and again when he is fired by the court. Paul reveals to Grayson/Ian that he is Jane's guardian angel, and says he has also been assigned to Ian. When Kim and Owen confront Jane over worries "Ian" is using her, Jane quits the firm.
7813"It Had To Be You"Robert J. WilsonJosh BermanJune 22, 2014 (2014-06-22)1.66[19]
Owen and Kim try to talk some sense into Jane about her relationship with Ian while Stacy is concerned about this division hurting her wedding. Meanwhile, Teri returns and realizes that Ian is a former classmate who is responsible for ruining her chances at stardom. Jane represents a couple being sued by a Japanese whaling company they were protesting, and she later finds that Owen is representing the company. Kim represents her former temp, Dave, when he is fired by his agency for his open belief in Bigfoot. Despite the two not wanting to get serious after their one date, Kim and Dave eventually share a passionate kiss. Jane stumbles upon a way to save her client from being imprisoned in Japan, and soon finds that Owen secretly led her to the information. They make up in time for the wedding. Stacy goes into early labor before the ceremony, however, and gives birth to the twins. Grayson discovers that Ian was once a good piano player, and that he ruined Teri's talent competition on Star Search by showing up intoxicated to play piano. The series ends with Grayson using Ian's musical talents to play and sing "It Had to Be You" for Deb/Jane, as the two are finally united together.

tag: table


document_title: Governing Body of Jehovah's Witnesses

question_text: who make up the governing body of jehovah's witnesses

question_tokens: who make up the governing body of jehovah 's witnesses

text: Governing Body of Jehovah's Witnesses

text: History[edit]

text: Since its incorporation in 1884, the Watch Tower Bible and Tract Society of Pennsylvania has been directed by a president and board of directors. Until January 1976, the president exercised complete control of doctrines, publications and activities of the Watch Tower Society and the religious denominations with which it was connected—the Bible Students and Jehovah's Witnesses.[11][12][13] When the Society's second president, J. F. Rutherford, encountered opposition from directors in 1917, he dismissed them. In 1925 he overruled the Watch Tower Society's editorial committee when it opposed publication of an article about disputed doctrines regarding the year 1914. In 1931, the editorial committee was dissolved.[14][15]

text: In 1943 The Watchtower described the Watch Tower Bible and Tract Society as the "legal governing body" of anointed Jehovah's Witnesses.[16] A year later, in an article opposing the democratic election of congregation elders, the magazine said the appointment of such ones was the duty of "a visible governing body under Jehovah God and his Christ."[17] For several years, the role and specific identity of the governing body remained otherwise undefined. A 1955 organizational handbook stated that "the visible governing body has been closely identified with the board of directors of this corporation."[18] Referring to events related to their 1957 convention, a 1959 publication said "the spiritual governing body of Jehovah’s witnesses watched the developments [then] the president of the Watch Tower Bible & Tract Society [acted]."[19] The 1970 Yearbook of Jehovah's Witnesses noted that the Watch Tower Bible and Tract Society of Pennsylvania was the organization used to plan the activity of Jehovah's Witnesses and provide them with "spiritual food", then declared: "So really the governing body of Jehovah's Witnesses is the board of directors of the Watch Tower Bible and Tract Society of Pennsylvania."[20]

text: On October 1, 1971, Watch Tower Society vice-president Frederick Franz addressed the annual meeting of the Pennsylvania corporation in Buckingham, Pennsylvania, stating that the legal corporation of the Watch Tower Society was an "agency" or "temporary instrument" used by the Governing Body on behalf of the "faithful and discreet slave".[21] Three weeks later, on October 20, four additional men joined the seven members of the Society's board of directors on what became known as a separate, expanded Governing Body.[22] The board of directors had until then met only sporadically, usually to discuss the purchase of property or new equipment, leaving decisions about Watch Tower Society literature to the president and vice-president, Nathan Knorr and Fred Franz.[21][23] The Watchtower of December 15, 1971 was the first to unambiguously capitalize the term "Governing Body of Jehovah's witnesses" as the defined group leading the denomination, with a series of articles explaining its role and its relationship with the Watch Tower Society.[2][24]

text: The focus on the new concept of "theocratic" leadership was accompanied by statements that the structure was not actually new: The Watch Tower declared that "a governing body made its appearance" some time after the formation of Zion's Watch Tower Society in 1884,[25] though it had not been referred to as such at the time.[11] The article stated that Watch Tower Society president Charles Taze Russell had been a member of the governing body.[25] The 1972 Yearbook of Jehovah's Witnesses stated that following Rutherford's death in 1942 "one of the first things that the governing body decided upon was the inauguration of the Theocratic Ministry School" and added that the "governing body" had published millions of books and Bibles in the previous thirty years.[26] Former member of the Governing Body, Raymond Franz, stated that the actions of presidents Russell, Rutherford and Knorr in overriding and failing to consult with directors proved the Bible Students and Jehovah's Witnesses had been under a monarchical rule until 1976, leaving no decisions to any "governing body".[27]

text: In 1972, a Question From Readers article in The Watchtower further reinforced the concept of the "Governing Body"; the magazine said the term referred to an agency that administers policy and provides organizational direction, guidance and regulation and was therefore "appropriate, fitting and Scriptural."[24][28] Organizational changes at the highest levels of the Watch Tower Society in 1976 significantly increased the powers and authority of the Governing Body.[29] The body has never had a legal corporate existence and operates through the Watch Tower Society and its board of directors.[30]

text: Reorganization[edit]

text: After its formal establishment in 1971, the Governing Body met regularly but, according to Raymond Franz, only briefly; Franz claims meetings were sometimes as short as seven minutes,[31] to make decisions about branch appointments and conduct that should be considered disfellowshipping offenses.[32][33] Franz claims that in 1971 and again in 1975, the Governing Body debated the extent of the authority it should be given.[34] The Governing Body voted in December 1975 to establish six operating committees to oversee the various administrative requirements of the organization's worldwide activities that formerly had been under the direction of the president; furthermore, each branch overseer was to be replaced by a branch committee of at least three members.[35] The change, which took effect on January 1, 1976, was described in the Watch Tower Society's 1993 history book, Jehovah's Witnesses—Proclaimers of God's Kingdom, as "one of the most significant organizational readjustments in the modern-day history of Jehovah's Witnesses."[36]

text: Headquarters purge[edit]

text: In 1980, dissent arose among members of the Governing Body regarding the significance of 1914 in Jehovah's Witnesses' doctrines. According to former Witnesses James Penton and Heather and Gary Botting, internal dissatisfaction with official doctrines continued to grow, leading to a series of secret investigations and judicial hearings. Consequently, dissenting members were expelled from the Brooklyn headquarters staff in the same year.[37][38][39] Raymond Franz claimed he was forced to resign from the Governing Body, and he was later disfellowshipped from the group.

text: The Watch Tower Society responded to the dissent with a more severe attitude regarding the treatment of expelled Witnesses.[37][38][40] In his 1997 study of the denomination, Penton concluded that since Raymond Franz's expulsion in 1980, the Governing Body displayed an increased level of conservatism, sturdy resistance to changes of policy and doctrines, and an increased tendency to isolate dissidents within the organization by means of disfellowshipping.[41]

text: Helpers[edit]

text: The April 15, 1992 issue of The Watchtower carried an article entitled Jehovah’s Provision, the “Given Ones” which drew a parallel between ancient non-Israelites who had been assigned temple duties (the "Nethinim" and "sons of the servants of Solomon") and Witness elders in positions of responsibility immediately under the oversight of the Governing Body who did not profess to be "anointed".[42]

text: Both that issue of The Watchtower and the 1993 Yearbook of Jehovah's Witnesses carried the same announcement:

text: In view of the tremendous increase worldwide, it seems appropriate at this time to provide the Governing Body with some additional assistance. Therefore it has been decided to invite several helpers, mainly from among the great crowd, to share in the meetings of each of the Governing Body Committees, that is, the Personnel, Publishing, Service, Teaching, and Writing Committees. Thus, the number attending the meetings of each of these committees will be increased to seven or eight. Under the direction of the Governing Body committee members, these assistants will take part in discussions and will carry out various assignments given them by the committee. This new arrangement goes into effect May 1, 1992. For many years now, the number of the remnant of anointed Witnesses has been decreasing, while the number of the great crowd has increased beyond our grandest expectations.[43][44]

text: Each of the current Governing Body members served as a committee "helper" before being appointed to the Governing Body itself.[45][46][47] The appointment of helpers to the Governing Body committees was described in 2006 as "still another refinement."[48]

text: 2000 and beyond[edit]

text: Until 2000, the directors and officers of the Watch Tower Society were members of the Governing Body. Since then, members of the ecclesiastical Governing Body have not served as directors of any of the various corporations used by Jehovah's Witnesses, and the Governing Body has delegated such administrative responsibilities to other members of the group.[49]

text: Committees[edit]

text: The Governing Body functions by means of its six committees, which carry out various administrative functions.[50] Each committee is assisted by "helpers," who do not necessarily profess to be of the "anointed". Governing Body meetings are held weekly in closed session.[51] According to Raymond Franz, decisions of the body were required to be unanimous until 1975, after which a two-thirds majority of the full body was required, regardless of the number present.[52][53]

text:
The Personnel Committee arranges for volunteers to serve in the organization's headquarters and worldwide branch offices, which are each referred to as Bethel. It oversees arrangements for the personal and spiritual assistance of Bethel staff, as well as the selection and invitation of new Bethel members.
The Publishing Committee supervises the printing, publishing and shipping of literature, as well as legal matters involved in printing, such as obtaining property for printing facilities. It is responsible for overseeing factories, properties, and financial operations of corporations used by Jehovah’s Witnesses.
The Service Committee supervises the evangelical activity of Jehovah's Witnesses, which includes traveling overseers, pioneers, and the activities of congregation publishers. It oversees communication between the international headquarters, branch offices, and the congregations. It examines annual reports of preaching activity from the branches. It is responsible for inviting members to attend the Gilead school, the Bible School for Single Brothers,[54] and the Traveling Overseers’ School, and for assigning graduates of these schools to their places of service.[55][56]
The Teaching Committee arranges congregation meetings, circuit assemblies, and regional and international conventions as well as various schools for elders, ministerial servants, pioneers and missionaries, such as Gilead school. It supervises preparation of material to be used in teaching, and oversees the development of new audio and video programs.
The Writing Committee supervises the writing and translation of all material published by the Watch Tower Bible and Tract Society, including scripts for dramas and talk outlines. It responds to questions about scriptural, doctrinal, and moral issues, specific problems in the congregations, and the standing of members in congregations.
The Coordinator's Committee deals with emergencies, disaster relief and other matters, such as investigations. It comprises the coordinators, or a representative, from each of the other Governing Body committees and a secretary who is also a member of the Governing Body. It is responsible for the efficient operation of the other committees.

text: Representatives[edit]

text: Initially, the Governing Body directly appointed all congregation elders.[57] By 1975, the appointment of elders and ministerial servants was said to be "made directly by a governing body of spirit-anointed elders or by them through other elders representing this body."[58] In 2001, The Watchtower, stated that recommendations for such appointments were submitted to branch offices.[59] As of September 2014, circuit overseers appoint elders and ministerial servants after discussion with congregation elders, without consulting with the branch office.[60]

text: The Governing Body continues to directly appoint branch office committee members and traveling overseers,[60][61] and only such direct appointees are described as "representatives of the Governing Body."[62][63]

text: Relationship with "faithful and discreet slave"[edit]

text: The Governing Body is said to provide "spiritual food" for Jehovah's Witnesses worldwide.[64][65][66] Until late 2012, the Governing Body described itself as the representative[50][67] and "spokesman" for God's "faithful and discreet slave class" (approximately 11,800 Witnesses who profess to be anointed) who are collectively said to be God's "prophet"[68] and "channel for new spiritual light".[69][70] The Governing Body does not consult with the other anointed Witnesses whom it was said to represent when formulating policy and doctrines or approving material for publications and conventions; the authority of the Governing Body was presumed to be analogous to that of the older men of Jerusalem in cases such as the first-century circumcision issue.[71] The majority of Witnesses who profess to be anointed have no authority to contribute to the development or change of doctrines.[72][73][74] Anointed Witnesses are instructed to remain modest and avoid "wildly speculating about things that are still unclear," instead waiting for God to reveal his purposes[74] in The Watchtower.[75]

text: In 2009, The Watchtower indicated that the dissemination of "new spiritual light" is the responsibility of only "a limited number" of the "slave class", asking: "Are all these anointed ones throughout the earth part of a global network that is somehow involved in revealing new spiritual truths? No."[76] In 2010 the society said that "deep truths" were discerned by "responsible representatives" of the "faithful and discreet slave class" at the group's headquarters, and then considered by the entire Governing Body before making doctrinal decisions.[77] In August 2011, the Governing Body cast doubt on other members' claims of being anointed, stating that "A number of factors—including past religious beliefs or even mental or emotional imbalance—might cause some to assume mistakenly that they have the heavenly calling." The Governing Body also stated that "we have no way of knowing the exact number of anointed ones on earth; nor do we need to know", and that it "does not maintain a global network of anointed ones."[78] At the 2012 Annual Meeting of the Watch Tower Society, the "faithful and discreet slave" was redefined as referring to the Governing Body only and the terms are now synonymous.[79]

text: Governing Body members[edit]

text: Current[edit]

text: The following people are members of the Governing Body of Jehovah's Witnesses[80] (year appointed in parentheses):

text:
Samuel F. Herd (1999)[81]
Geoffrey Jackson (2005)[82]
Mark Stephen Lett (1999)[81]
Gerrit Lösch (1994)[83][84]
Anthony Morris III (2005)[82]
Mark Sanderson (2012)[85][86]
David H. Splane (1999)[81]

text: Former[edit]

text: Prior to 1971, various Watch Tower Society directors were informally identified as members of the "governing body". Jehovah's Witnesses publications began capitalizing Governing Body as a proper noun in 1971; The Watchtower that year announced "The present Governing Body comprises eleven anointed witnesses of Jehovah." These eleven members are indicated in italics in the list below.[87][88] Years active are shown in parentheses. All members served until their deaths unless specified.

text:
Thomas J. Sullivan (1932–1974)[89][90][91]
Grant Suiter (1938–1983)[92][93]
Nathan Homer Knorr (1940–1977)—4th President of Watch Tower Society[94][95]
Frederick William Franz (1944–1992)—5th President of Watch Tower Society[96][97]
Lyman Alexander Swingle (1945–2001)[98]
Milton George Henschel (1947–2003)—6th President of Watch Tower Society[89]
John O. Groh (1965–1975)[89]
Raymond Franz (1971–1980)[39][89][99][100][101] – Resigned
George D. Gangas (1971–1994)[102]
Leo K. Greenlees (1971–1984)[103][104] – Resigned
William K. Jackson (1971–1981)[89]
William Lloyd Barry (1974–1999)[105][106]
John C. Booth (1974–1996)[107]
Ewart C. Chitty (1974–1979)[108][109] – Resigned
Charles J. Fekel (1974–1977)[110]
Theodore Jaracz (1974–2010)[111][112][113]
Karl F. Klein (1974–2001)[114]
Albert D. Schroeder (1974–2006)[115]
Daniel Sydlik (1974–2006)[116]
Carey W. Barber (1977–2007)[117]
John E. Barr (1977–2010)[118][119]
Martin Pötzinger (1977–1988)[120]
Guy Hollis Pierce (1999–2014)[6][121]


document_title: List of U.S. states by date of admission to the Union

question_text: what state was the first state in the united states

text: List of U.S. states[edit]

text:
State
Date
(admitted or ratified)
Formed from

1
 Delaware
000000001787-12-07-0000December 7, 1787[8]
(ratified)
Crown Colony of Delaware[b]

2
 Pennsylvania
000000001787-12-12-0000December 12, 1787[10]
(ratified)
Crown Colony of Pennsylvania

3
 New Jersey
000000001787-12-18-0000December 18, 1787[11]
(ratified)
Crown Colony of New Jersey

4
 Georgia
000000001788-01-02-0000January 2, 1788[8]
(ratified)
Crown Colony of Georgia

5
 Connecticut
000000001788-01-09-0000January 9, 1788[12]
(ratified)
Crown Colony of Connecticut

6
 Massachusetts
000000001788-02-06-0000February 6, 1788[8]
(ratified)
Crown Colony of Massachusetts Bay

7
 Maryland
000000001788-04-28-0000April 28, 1788[8]
(ratified)
Crown Colony of Maryland

8
 South Carolina
000000001788-05-23-0000May 23, 1788[8]
(ratified)
Crown Colony of South Carolina

9
 New Hampshire
000000001788-06-21-0000June 21, 1788[8]
(ratified)
Crown Colony of New Hampshire

10
 Virginia
000000001788-06-25-0000June 25, 1788[8]
(ratified)
Crown Colony of Virginia

11
 New York
000000001788-07-26-0000July 26, 1788[13]
(ratified)
Crown Colony of New York

12
 North Carolina
000000001789-11-21-0000November 21, 1789[14]
(ratified)
Crown Colony of North Carolina

13
 Rhode Island
000000001790-05-29-0000May 29, 1790[8]
(ratified)
Crown Colony of Rhode Island and Providence Plantations

14
 Vermont
000000001791-03-04-0000March 4, 1791[15]
(admitted)
Vermont !Vermont Republic[c]

15
 Kentucky
000000001792-06-01-0000June 1, 1792[16]
(admitted)
Virginia (District of Kentucky: Fayette, Jefferson, and Lincoln counties[d])

16
 Tennessee
000000001796-06-01-0000June 1, 1796[18]
(admitted)
Southwest Territory

17
 Ohio
000000001803-03-01-0000March 1, 1803[19][e]
(admitted)
Northwest Territory (part)

18
 Louisiana
000000001812-04-30-0000April 30, 1812[21]
(admitted)
Orleans !Territory of Orleans

19
 Indiana
000000001816-12-11-0000December 11, 1816
(admitted)
Indiana Territory

20
 Mississippi
000000001817-12-10-0000December 10, 1817[22]
(admitted)
Mississippi Territory

21
 Illinois
000000001818-12-03-0000December 3, 1818[23]
(admitted)
Illinois Territory (part)

22
 Alabama
000000001819-12-14-0000December 14, 1819[24]
(admitted)
Alabama Territory

23
 Maine
000000001820-03-15-0000March 15, 1820[25]
(admitted)
Massachusetts (District of Maine[f])

24
 Missouri
000000001821-08-10-0000August 10, 1821[26]
(admitted)
Missouri Territory (part)

25
 Arkansas
000000001836-06-15-0000June 15, 1836[27]
(admitted)
Arkansas Territory

26
 Michigan
000000001837-01-26-0000January 26, 1837[28]
(admitted)
Michigan Territory

27
 Florida
000000001845-03-03-0000March 3, 1845
(admitted)
Florida Territory

28
 Texas
000000001845-12-29-0000December 29, 1845
(admitted)
Texas !Republic of Texas

29
 Iowa
000000001846-12-28-0000December 28, 1846
(admitted)
Iowa Territory (part)

30
 Wisconsin
000000001848-05-29-0000May 29, 1848[29]
(admitted)
Wisconsin Territory (part)

31
 California
000000001850-09-09-0000September 9, 1850[30]
(admitted)
Unorganized !unorganized territory (part)

32
 Minnesota
000000001858-05-11-0000May 11, 1858[31]
(admitted)
Minnesota Territory (part)

33
 Oregon
000000001859-02-14-0000February 14, 1859
(admitted)
Oregon Territory (part)

34
 Kansas
000000001861-01-29-0000January 29, 1861[32]
(admitted)
Kansas Territory (part)

35
 West Virginia
000000001863-06-20-0000June 20, 1863[33]
(admitted)
Virginia (Trans-Allegheny region counties[g])

36
 Nevada
000000001864-10-31-0000October 31, 1864
(admitted)
Nevada Territory

37
 Nebraska
000000001867-03-01-0000March 1, 1867
(admitted)
Nebraska Territory

38
 Colorado
000000001876-08-01-0000August 1, 1876[36]
(admitted)
Colorado Territory

39[h]
  North Dakota
000000001889-11-02-0000November 2, 1889[38][i]
(admitted)
Dakota Territory (part)

40
 South Dakota
000000001889-11-02-0000November 2, 1889[38][i]
(admitted)
Dakota Territory (part)

41
 Montana
000000001889-11-08-0000November 8, 1889[39]
(admitted)
Montana Territory

42
 Washington
000000001889-11-11-0000November 11, 1889[40]
(admitted)
Washington Territory

43
 Idaho
000000001890-07-03-0000July 3, 1890
(admitted)
Idaho Territory

44
 Wyoming
000000001890-07-10-0000July 10, 1890
(admitted)
Wyoming Territory

45
 Utah
000000001896-01-04-0000January 4, 1896[41]
(admitted)
Utah Territory

46
 Oklahoma
000000001907-11-16-0000November 16, 1907[42]
(admitted)
Oklahoma Territory and Indian Territory

47
 New Mexico
000000001912-01-06-0000January 6, 1912
(admitted)
New Mexico Territory

48
 Arizona
000000001912-02-14-0000February 14, 1912
(admitted)
Arizona Territory

49
 Alaska
000000001959-01-03-0000January 3, 1959
(admitted)
Alaska !Territory of Alaska

50
 Hawaii
000000001959-08-21-0000August 21, 1959
(admitted)
Hawaii !Territory of Hawaii

text: Articles of Confederation ratification dates[edit]

text: The Second Continental Congress approved the Articles of Confederation for ratification by the individual states on November 15, 1777. The Articles of Confederation came into force on March 1, 1781, after being ratified by all 13 states. On March 4, 1789, the general government under the Articles was replaced with the federal government under the present Constitution.[43]

text:
State
Date

13 !1
 Virginia
000000001777-12-16-0000December 16, 1777

12 !2
 South Carolina
000000001778-02-05-0000February 5, 1778

08 !3
 New York
000000001778-02-06-0000February 6, 1778

11 !4
 Rhode Island
000000001778-02-09-0000February 9, 1778

01 !5
 Connecticut
000000001778-02-12-0000February 12, 1778

03 !6
 Georgia
000000001778-02-26-0000February 26, 1778

06 !7
 New Hampshire
000000001778-03-04-0000March 4, 1778

10 !8
 Pennsylvania
000000001778-03-05-0000March 5, 1778

05 !9
 Massachusetts
000000001778-03-10-0000March 10, 1778

09 !10
 North Carolina
000000001778-04-05-0000April 5, 1778

07 !11
 New Jersey
000000001778-11-19-0000November 19, 1778

02 !12
 Delaware
000000001779-02-01-0000February 1, 1779

04 !13
 Maryland
000000001781-02-02-0000February 2, 1781